what is a text response essay

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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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TEXT RESPONSE WRITING CHECKLIST & RUBRIC BUNDLE

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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 Reader Response

Last Updated: March 19, 2024 Fact Checked

This article was co-authored by Diane Stubbs . Diane Stubbs is a Secondary English Teacher with over 22 years of experience teaching all high school grade levels and AP courses. She specializes in secondary education, classroom management, and educational technology. Diane earned a Bachelor of Arts in English from the University of Delaware and a Master of Education from Wesley College. There are 9 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 446,780 times.

A reader response assignment asks you to explain and defend your personal reaction to an assigned text. Reader response papers can be difficult because they force you, the reader, to take responsibility for giving meaning to the text. Often these assignments feel open-ended and vague, but don't worry, a good reader response paper will follow a standard essay format that you can easily master. This guide will walk you through the creation of a well-crafted reader response paper that's sure to wow your instructor and earn you an awesome grade.

Writing the Reader Response

• It is often helpful to use the first body paragraph to include more information about the text, the plotline, major themes, etc., and then use the rest of the paragraphs to provide an analysis of how you felt about the text.

• Remember that a reader response is meant to be personal, so it's OK to incorporate personal anecdotes and opinions into your analysis.
• Example: "Forcing Hester Prynne to wear the scarlet "A" reminded me of a time when I was cyber-bullied in eighth grade, and my "friends" spread rumors about me online where the whole school could see."

• Example: "At the end of The Old Man and the Sea, Manolin promises to once again fish with Santiago, so the old man no longer has to be alone. This was Santiago's greatest wish, but it was a different kind of success than he initially set out to achieve."

• Example: "'My big fish must be somewhere,' said Santiago. This is exactly how I felt after I received my third rejection letter, but like Santiago, I kept trying, and eventually I was accepted."
• Make sure and cite your examples per class directions. You will usually be required to note the page numbers of any quotations or specific examples in parentheses at the end of the sentence.

• A great way to think of your conclusion is that it's one last chance to explain to your reader how you see all of your points fitting together.

• Sometimes it's hard to see our own mistakes, so it can really help to exchange papers with a friend, and proofread each other's work.

Drafting the Reader Response

• "Even though I found The Scarlett Letter hard to follow at times, Hester Prynne's story is still relatable, and made me think a lot about the effects of publicly shaming people online."
• "Some people believe the Old Man and the Sea is a book about failure, but it is really a story of perseverance that teaches us that success may not always come in the form we expect, and even disasters can lead to positive outcomes."

• Introduction: 1 paragraph.
• Analysis/Body Paragraphs: 3-4 paragraphs. How you organize these paragraphs will depend on the parameters of the assignment.
• Conclusion: 1 paragraph.

Reading the Text

• Do you like or dislike the text?
• Can you identify the author's purpose?
• Do you agree or disagree with the author?
• Does the text relate to you and your life? If so, how? If not, why not?
• Does the text agree with, or go against your personal world view?
• What, if anything, did you learn from the text?

• Taking a bit of extra time during this phase will save you a lot of time in the writing process. [9] X Research source

• I think that...
• I feel that...
• I see that...
• I have learned that...

Sample Reader Response

Community Q&A

You Might Also Like

• ↑ https://penandthepad.com/rules-writing-reading-response-essay-3968.html
• ↑ https://courses.lumenlearning.com/suny-jefferson-english102/chapter/reader-response-criticism-american-literature-i/
• ↑ https://writingstudio.gsu.edu/files/2021/02/Reading-Response.pdf
• ↑ https://owl.purdue.edu/owl/general_writing/the_writing_process/proofreading/steps_for_revising.html
• ↑ https://faculty.washington.edu/momara/Reader%20Response.pdf
• ↑ https://www.grammarly.com/blog/essay-outline/
• ↑ http://www.hunter.cuny.edu/rwc/handouts/the-writing-process-1/invention/Writing-a-Response-or-Reaction-Paper
• ↑ http://education-portal.com/articles/Step-by-Step_Guide_to_Writing_a_Great_Reading_Response_Paper.html
• ↑ https://www.hunter.cuny.edu/rwc/handouts/the-writing-process-1/invention/Writing-a-Response-or-Reaction-Paper

About This Article

To write a reader response, develop a clear thesis statement and choose example passages from the text that support your thesis. Next, write an introduction paragraph that specifies the name of the text, the author, the subject matter, and your thesis. Then, include 3-4 paragraphs that discuss and analyze the text. Finish up with a conclusion paragraph that summarizes your arguments and brings the reader back to your thesis or main point! For tips on analyzing the text before writing your assignment, read on! Did this summary help you? Yes No

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Chapter 5: Responding to a Text

What is a response essay.

Often a response follows a summarization and/or examination of a text. The author (you) responds to some aspect of the original author’s argument and/or main ideas. For instance, if you read an essay arguing that one fast food chain is better than another (for various reasons), then you would respond in agreement, disagreement or mixed agreement to the author’s argument or persuasiveness by referring directly to the text and also using your own personal experiences, researched facts, and/or logical examples to support your opinion (Colorado State University).

Why am I writing a response essay?

As you work through your college experience, you will hear over and over that you should not use “I” or first person. I have told many students this, too. However, writing from a first person perspective is important and can be a useful tool because it allows you to effectively use experiences and anecdotes to either introduce a topic or support your point of view. Although learning how to write for academic audience using academic language and tone is very important, I believe beginning with casual tone and first person helps you understand the difference between the two.

Another common misconception of a personal response assignment is that the instructor is asking the student to “write a story,” but the purpose of a personal response assignment is to convey internal reflections and thoughts into a formal and organized piece of writing. In this case, you are not asked to simply “write a story” but instead craft a valid and personal response to an author’s work and argument. A response or reaction to a text is not a narrative essay, even though you may use personal pronouns to react and/or respond to the author’s argument(s).

Another reason for including a summary and response essay assignment is because it prepares you for our later rhetorical work. Knowing how to accurately summarize an authors’ argument and how to appropriately respond to that argument are important skills.

In This Chapter

The summary and response assignment provides you with opportunities to practice writing concise summaries, two types of thesis statements, and body paragraphs; therefore, this chapter includes information pertaining to these skills.

Introduction to Writing in College by Melanie Gagich is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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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 (Analysis of Film Techniques)

Sunset Boulevard by Billy Wilder (Incorporating Cinematic Features into your VCE Essay)

‍ 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

The White Girl by Tony Birch

‍ 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.

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

1. Introduction (Plot Summary) 2. Characters and Development 3. Themes 4. Narrative Conventions/Literary Devices 5. Sample Paragraphs 6. Additional Essay Prompts and Analysis Questions to Consider 7. Tips

1. Introduction (Plot Summary)

Christine Piper’s historical fiction, After Darkness deals with suppressed fragments of the past and silenced memories. The protagonist, Dr Ibaraki, attempts to move forward with life whilst also trying to hide past confrontations as well as any remnants of his past wrongdoings and memories. The text consists of three intertwined narrative strands – Ibaraki’s past in Tokyo in 1934, his arrival in Broome in 1938 to work in a hospital there, and his arrival in a detainment camp in Loveday (South Australia) in 1942 after the outbreak of war.

2. Characters and Development

4. Narrative Conventions/Literary Devices

• ‘a mallee tree’ - Aboriginal word for water which symbolises purity, source of life 'if it’s hit by bushfire it grows back from the root with lots of branches, like all the others here. It’s a tough tree. Drought, bushfire…it’ll survive almost anything…I was struck by the ingenuity of the tree in its ability to generate and create a new shape better suited to the environment.'
• The tag with 'the character ko…[with] its loop of yellowed string...The knot at the end had left an impression on the page behind it: a small indentation, like a scar.'

Simile/Imagery:

• 'Felt like hell on earth'
• 'The hollow trunks of dead trees haunted its edges like lost people' - Can also link to the landscape narrative convention
• 'The scene was like a photograph, preserving the strangeness of the moment.'

Description of the hospital atmosphere where the patient next to Hayashi laid

• 'Only the windows were missing, leaving dark holes like the eyes of an empty soul'
• 'The photos reached me first. I leafed through the black and white images: swollen fingers, blistered toes, blackened faces, and grotesque, rotting flesh that shrivelled and puckered to reveal bone. The final photo depicted a child’s chubby hands, the tips of the fingers all black.' - Also foreshadowing death of his and Kayoko’s child

Pathetic Fallacy:

• 'That afternoon, the sky darkened, and the wind picked up…making the world outside opaque.'
• Middlemarch (book) which symbolises Ibaraki and Sister Bernice’s friendship as Bernice was left behind
• Robinson Crusoe
• 'Being able to conduct research in this way has delivered unparalleled knowledge, which we’ve already passed on to the army to minimise further loss of life.'
• 'You haafu fools don’t deserve the Japanese blood in you!'
• 'You bloody racist!'
• 'You fucking Emperor-worshipping pig...!'
• 'Haafu' - Derogatory, racism term used to define those who are biracial (half Japanese):

An interpretation of the language use throughout the text could be Piper’s way of humanising the Japanese people to her readers and notifying them that they also have their own culture and form of communication

Another interpretation of the language use is to show that both the Australians and Japanese are just as cruel as each other because they show no respect to one another and use language in such a brutal way

Ibaraki represents that divide where he can speak both languages, yet still, cannot voice his own opinion or stand up for himself (link to theme of silence)

Personification:

• 'The void seemed to have a force of its own, drawing the meaning of the words into it.'
• 'The engine coughed into life.'

Foreshadowing:

• 'snow was falling as I walked home from the station – the first snow of the season.' - Foreshadowing the storm about to come in his life
• 'A black silhouette against the fallen snow.' - Foreshadowing Kayoko’s death

5. Sample Paragraphs

'But as soon as you show a part of yourself, almost at once you hide it away.' Ibaraki’s deepest flaw in After Darkness is his failure to reveal himself. Do you agree?

Christine Piper’s historical fiction, After Darkness explores the consequences that an individual will be forced to endure when they choose to conceal the truth from their loved ones. Piper reveals that when a person fails to reveal themselves, it can eventually become a great obstacle which keeps them from creating meaningful and successful relationships. Additionally, Piper asserts that it can be difficult for an individual to confront their past and move completely forward with their present, especially if they believed their actions were morally wrong. Furthermore, Piper highlights the importance of allowing people into one’s life as a means to eliminate the build-up the feelings of shame and guilt. ‍

Piper acknowledges that some people will find it difficult to open up to others about their past due to them accumulating a large amount of regret and guilt over time. This is the case for Ibaraki as he was involved with the ‘experiments’ when he was working in the ‘Epidemic Prevention Laboratory', in which Major Kimura sternly told him to practise ‘discretion and not talk ‘about [his] work to anybody'. The inability to confide in his wife or mother after performing illegal and mentally disturbing actions causes him to possess a brusque conduct towards others, afraid that they will discover his truth and ‘not be able to look at [him] at all'. His failure to confess his past wrongdoings shapes the majority of his life, ruining his marriage and making him feel the need ‘to escape’ from his losses and ‘start afresh'. He eventually lies to his mother by making her believe that he ‘had gone to Kayoko’s parents’ house’ for the break, avoiding any questions from being raised about his job. As a consequence, he fails to tell his family about his horrid past suggesting that he has accepted that ‘[his] life had become one that others whispered about'. Juxtaposed to Ibaraki’s stress relieving methods, Kayoko confides in her mother after she receives news of her miscarriage, highlighting that when one willingly shares their pain with loved ones, it can release the burden as well as provide them with some assistance. In contrast to this, Ibaraki’s guilty conscience indicates that he will take ‘the secret to his grave', making it extremely difficult for people he encounters to understand him and form a meaningful connection with him. Nonetheless, Piper does not place blame on Ibaraki as he was ordered to keep the ‘specimen’ business hidden from society, thereby inviting her readers to keep in mind that some individuals are forced by others to not reveal their true colours for fear of ruining a specific reputation.

Throughout the journey in After Darkness , Piper engendered that remaining silent about one’s past events that shapes their future is one of the deepest flaws. She notes that for people to understand and form bonds with one another, it is extremely important to reveal their identity as masking it only arises suspicions. Piper postulates that for some, memories are nostalgic; whereas, for others it carries an unrelenting burden of guilt, forcing them to hide themselves which ultimately becomes the reason as to why they feel alone in their life.

6. Additional Essay Prompts and Analysis Questions to Consider

• Analyse the role of silence in After Darkness . Compare the ways in which the characters in the text utilise or handle silence. What is Piper suggesting about the notion of silence?
• Discuss the importance of friendship in the text. What is it about friends that make the characters appear more human? How can friendship bolster development in one’s character?
• Racism and nationalism are prominent themes in the text. How are the two interlinked? Explore the ways they are shown throughout the text and by different characters. Is Piper indicating that the two always lead to negative consequences?
• Analyse some of the narrative conventions (imagery, simile, metaphor, symbols, motifs, landscapes, language, etc.) in the novel and what they mean to certain characters and to the readers.
• Explore the ways in which the text emphasises that personal conscience can oftentimes hold people back from revealing their true thoughts and feelings.
• Character transformation (bildungsroman) is prevalent throughout the text. What is Piper suggesting through Ibaraki’s character in terms of the friendships and acquaintances he has formed and how have they impacted him? How have these relationships shaped him as a person in the past and present? Were such traits he developed over time beneficial for himself and those around him or have they caused the destruction of once healthy relationships?

If you'd like to see how to break down an essay topic, you might like to check out our After Darkness Essay Topic Breakdown blog post!

• Be sure to read as many academic articles as you can find in relation to the text in order to assist you with in-depth analysis when writing your essays. This will help you to stand out from the crowd and place you in a higher standing compared to your classmates as your ideas will appear much more sophisticated and thought-out.
• Being clear and concise with the language choices is such a crucial factor. Don’t over complicate the ideas you are trying to get across to your examiners by incorporating ‘big words’ you believe will make your writing appear of higher quality, because in most cases, it does the exact opposite (see Why Using Big Words in VCE Essays Can Make You Look Dumber ). Be careful! If it's a choice between using simpler language that your examiners will understand vs. using more complex vocabulary where it becomes difficult for the examiners to understand what you're trying to say, the first option is best! Ideally though, you want to find a balance between the two - a clearly written, easy to understand essay with more complex vocabulary and language woven into it.
• If there is a quote in the prompt, be sure to embed the quote into the analysis, rather than making the quote its own sentence. You only need to mention this quote once in the entire essay. How To Embed Quotes in Your Essay Like a Boss has everything you need to know for this!

If you'd like to see sample A+ essays complete with annotations on HOW and WHY the essays achieved A+, then you'll definitely want to check out our After Darkness Study Guide ! In it, we also cover advanced discussions on topics like structural features and context, completely broken down into easy-to-understand concepts so you can smash your next SAC or exam! Check it out here .

We’ve explored themes, literary devices and characters and development amongst other things over on our After Darkness by Christine Piper blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out!

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

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

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Let’s get into it!

The Prompt: 

‘While Ibaraki clearly suffers the consequences of his actions, it is those closest to him who pay the highest price. Discuss.’

Step 1: Analyse

This is a theme-based prompt, and the keywords are: suffer, consequence, actions and highest price . You want to explore both the evidence that supports the statement and also any evidence that may offer a contradiction to the statement. From here you can find the definition of the keywords to help develop some questions to explore.

Step 2: Brainstorm

To suffer is to be affected by or subject to something unpleasant. 

• Is Ibaraki the only one who suffers? Who else suffers? Kayoko, Johnny, Stan, Sister Bernice.
• How do characters deal with their suffering differently? Kayoko and Sister Bernice abandon their relationships with Ibaraki, Johnny becomes agitated and spiteful, Stan becomes depressed. 

A consequence is a result of an action. 

• Are the consequences negative or positive? Johnny being outspoken in the internment camp angers the traditionalist Japanese, but creates a sense of kinship amongst the half-blood Japanese. 
• Can characters overcome these consequences or learn from them? Ibaraki eventually learns from his mistakes and grows as a result. 

An action is the process of doing something, typically to achieve an aim. 

• Is it Ibaraki’s actions, or lack thereof that lead to consequences? It is often his silence and obedience that cause trouble. For example, not telling Kayoko about his work leads to the failure of their marriage.  
• Is it only Ibaraki who makes mistakes? Sister Bernice ignores her religion to confess her love for Ibaraki. 
• What are the factors that cause the characters to act in the way that they do? Ibaraki’s guilt and fear of authority and judgement prevent him from speaking up on multiple occasions.  

Highest price refers to Ibaraki’s suffering being above all else. 

• Is this true? Ibaraki loses his dignity, his friends, his wife, his unborn child, his family, his job and his freedom. However, he does partially regain these.  
• Who suffers the most? Kayoko has a miscarriage and her marriage to Ibaraki fails. Stan is assaulted by other internees and is eventually killed by a guard. Johnny becomes an outcast in his community and is bullied by other internees.  

At this point, you can begin to group your ideas and evidence from the text to support your claims.

Throughout the novel, Piper uses a variety of literary devices including dialogue, simile and foreshadowing to convey her message of every action having a consequence . The most prominent of these is her use of imagery and metaphor which she uses to illustrate Ibaraki’s guilt and the way it impacts his actions. However, the story is not only centred around Ibaraki. Piper also highlights that people will often face consequences no matter what decision they make. She does this through her use of foil characters (characters who are used to highlight a particular trait in another character). For example, Ibaraki’s fear and obedience are emphasised by the courage of Kayoko and Johnny Chang. These characters, alongside Ibaraki, face suffering as a result of their actions. 

From these ideas, the main themes I am going to explore are what factors affect the character’s actions, and how the consequences of these actions can lead to negative, but also positive change. 

Step 3: Create a Plan

Paragraph 1:

• Whilst the novel centres around Ibaraki’s actions and their consequences, he is not the only character that makes mistakes and is forced to face the repercussions.

Paragraph 2:

• It is not necessarily Ibaraki’s actions, but lack of action that often results in the suffering of those around him. Consider the reasons for his lack of action: his blind devotion to authority, his fear of judgement, his ongoing guilt and regret from previous situations.
• Ibaraki’s lack of action acts as a perpetuating factor for the suffering of those closest to him, but it is not the only factor.

Paragraph 3:

• Ibaraki may pay the highest price for his actions. The structure of the storyline to include a chapter from Ibaraki’s perspective years later indicates that these consequences have ultimately led to positive change.

Now it is time to write the essay!

Set during the Pacific War, Christine Piper’s After Darkness explores the difficulties and misfortunes many face during wartime. Depicting the rise and fall of Japan’s war efforts (1) , After Darkness highlights that all actions have consequences of varying severity, particularly those of protagonist Dr Ibaraki Tomokazu. Throughout the novel, Ibaraki’s lack of action perpetuates the suffering of those closest to him, however, this is shown to be one of many factors and often initiates positive change within him, allowing his character to develop. Fundamentally, After Darkness highlights that change can only occur if people face the repercussions of their actions. (2)

Annotations (1) In the introduction, it is important to introduce the text with context . As After Darkness is predominantly set in 1942 during wartime in both Japan and Australia, it is important to include this in the introduction in order to explore the essay topic with a complete understanding. 

(2) Another key part of the introduction is to briefly introduce the topics you will discuss throughout the essay.

Throughout the novel, Piper emphasises the idea that all actions have consequences, however, this idea is not limited to Ibaraki. Across the three novel strands, protagonist Dr Tomokazu Ibaraki’s suffering as a result of his mistakes is depicted through both his internal and external dialogue. Ibaraki makes many significant mistakes throughout his lifetime, one of these being his failure to perform a dissection of a child when working at Unit 731. Despite ‘not [being] [him]self’ (3) when asked to perform the operation, Ibaraki is promptly fired. His termination of employment is not the only consequence of his failure, as shame continues to take over his confidence. This is illustrated when he was ‘unable to go on’ during an operation in Broome, despite being in a completely different scenario. Through Ibaraki’s flashback of ‘Black dots on a child’s belly’, Piper indicates the torment and lasting effects of consequences on an individual (4) . Whilst the novel centres around his mistakes, it is revealed that Ibaraki is not the only character who is forced to face the repercussions of their actions. Despite acting as foils for Ibaraki and presenting many different qualities, Australian internees Johnny Chang and Stan Suzuki also struggle immensely to overcome the results of their behaviours. Johnny Chang’s outspoken nature is often shown to cause disruption among the camp, for example, labelling the imperialist Japanese as ‘emperor worshipping pig’s.’ In standing for his beliefs, Johnny creates a tense division within groups, leading to the half Australian internees being treated like ‘outcasts’. Conversely, Stan’s introverted behaviour results in his eventual death (5) . Piper’s contention that all actions have consequences is arguably enforced strongly through Stan’s death, as it results from the failure of many characters to act. Ibaraki’s inability to open up, Johnny’s selfishness and Stan’s loss of self are inevitably all factors leading to his eventual demise. This is ultimately reinforced when Johnny states ‘It should’ve been me Doc’, indicating he has finally realised his role in the tragedy.

Annotations (3) In order to embed quotes , words, prefixes and suffixes can be added to ensure the sentence flows correctly. However, you must indicate that you have edited the quote by placing your changes in square brackets. Here, the original quote was ‘not myself’ but it has been changed to fit the sentence. 

(4) Whilst it is important to include quotes, it is even more important that you analyse how the author uses the quote to convey a message. In this case, the example of one of Ibaraki’s many flashbacks is used to bear Piper’s belief that one cannot escape the repercussions of their actions.

(5) Comparison is a powerful way of exploring the author’s ideas throughout the text. Here, Johnny’s outspoken nature is contrasted with Stan’s ‘introverted behaviour’, yet both concede repercussions. This supports the idea that all actions have consequences, no matter their nature.

Ibaraki’s lack of action acts as a perpetuating factor for the suffering of those closest to him, however, it is not the only factor. After Darkness shows the faults in many of Ibaraki’s actions, suggesting his mistakes lead to the misfortunes of many of those around him but this is only partially true. Stan Suzuki’s death is a pivotal moment in the novel where Ibaraki begins to truly express his emotions and open up about the pain he feels (6). Ibaraki realises that he ‘could have done something’ when opening up to the investigators of Stan’s death, leading to the conclusion that Ibaraki is to blame. Piper illustrates that suffering results as a combination of factors through the later revelations of Johnny’s escape attempt and the instability of the ‘trigger-happy’ guard who shot Stan. This idea is reinforced through the breakdowns of Ibaraki’s close relationships with Kayoko and Sister Bernice. Whilst Ibaraki’s emotionally distant nature catalysed the loss of these significant relationships, it was not the only factor. Both Kayoko and Sister Bernice are structured with similar characteristics in the novel, one being their confidence and strength in their beliefs. Nevertheless, both women lack this characteristic when it comes to their relationship with Ibaraki (7) . Ibaraki admits his separation from Kayoko is his ‘greatest regret’, and whilst the first-person perspective does not give an insight into Kayoko’s side, she is shown to lack her usual self-assuredness. Similarly, Ibaraki’s allowance of ‘silence [to] stretch between…’ him and Sister Bernice is hurtful and a failure on his behalf, yet she still willingly confesses her feelings, aware of the risks involved. This is evident when ‘her eyes dart away from [his]’, implying she is ashamed of her statement as it contradicts her religion and the terms of their work relationship and friendship. This results in an abrupt end to their friendship as the embarrassment of the repercussions of her actions overwhelm Sister Bernice. Whilst the series of mistakes that Ibaraki makes throughout the novel show that his actions cause grief for both him and the people around him, they also highlight that the misfortune of others is not always the fault of one individual.

Annotations (6) Referring to specific events in the text is extremely useful to support your ideas and claims. However, it is important that you avoid over-explaining the event, as this will lead to you retelling , rather than analysing the text. See How To Avoid Retelling the Story for more tips. 

(7) An often-overlooked literary device is the use of foils . A foil is a character that is used to highlight a particular trait in another character, often a flaw. In this case, Piper uses the similarities between Kayoko and Sister Bernice, and the ultimate failure of their relationships. This highlights Ibaraki’s repetition of his mistakes, which we can attribute to his ongoing guilt. 

Ibaraki ultimately pays the highest price for his actions; although this is shown to result in positive change. Through her descriptions of Australia and Japan, Piper uses the juxtaposition of light and dark imagery to illustrate how suffering can lead to learning and growth. Facing racism in Broome when labelled as a ‘Bloody Jap…’, trauma from his experiences in Unit 731 and hardship during his internment at Loveday, Ibaraki is constantly a victim of circumstance. Even so, the pressures and torment of these events force him to seek the support of others. The colourful descriptions of the ‘pink spur of land crested with green’ foreshadow the positive change to come for Ibaraki (8) . This becomes evident when Ibaraki finally opens up to Stan in the infirmary about his separation from Kayoko. Ibaraki’s development as a character continues as he learns to trust despite the unfair circumstances of being interned. Although memories of trees haunting the river’s edge ‘like lost people’ and the bark of red trees appearing ‘like blistered skin’ continue to plague Ibaraki’s conscience, they force him to confront his past and in turn begin to heal. Through the retrospective novel, Piper describes Japan as where ‘darkness crowded the corners’ and Ibaraki worked ‘in the basement’, indicating his misguided obedience and attachment to silence. This not only illustrates (9) Ibaraki’s trauma, but emphasises his drastic development through his experiences. The importance of the consequences Ibaraki has faced throughout his lifetime are reinforced in the final pages of the novel after he reads Sister Bernice’s letter and has an epiphany. The discovery that he had ‘clung to the ideal of discretion’ creates a sense of hope for Ibaraki’s future and emphasises his newfound understanding of life through the consequences he has faced. (10)

Annotations (8) Ensure you don’t just randomly place quotes throughout the essay, but instead, analyse them to give them meaning. An easy way to do this is by including the quote , its connotations and what emotions or ideas they provoke, followed by why the author has used it. In this case, the quote was the ‘pink spur of land crested with green.’ Its connotations were positive such as colour, happiness, and hope. These connotations were used to foreshadow positive change. 

(9) Using a variety of vocabulary such as ‘illustrates’, ‘explores’ and ‘demonstrates’ shows that you are not only identifying what the author is doing but that you understand how and why they have done it in this way. This is ultimately the goal of a text response essay. 

(10) It is important to ensure the flow of your essay to show sophistication in your writing. It is not only the ideas you have, but the way in which you convey and explain them that ultimately indicates your understanding of the text. A simple way to do this is to use a summary sentence at the end of each topic that subscribes to the idea and links to the previous or following paragraph. 

Essentially After Darkness highlights the necessity of facing consequences for our actions to promote learning and growth. Whilst Ibaraki and many other characters suffered as a result of their behaviour, Piper asserts that Ibaraki is not the overall perpetrator but ultimately pays the highest price of all. (11)

Annotations (11) Just like the introduction, the conclusion is a brief summary of the discussion topics throughout your text response. Most importantly, after exploring all of the evidence you must form a stance in relation to the essay topic. Many students believe that this needs to be a simple and definite yes or no, which is not the case. Instead, I have suggested that Ibaraki is not the only one to blame for other character’s suffering, but that ultimately, he paid the highest price. Check out 5 Tips for a Mic-Drop Worthy Essay Conclusion if you need more help finishing your essay off with a bang!

If you found this essay breakdown helpful, then you might want to check out our After Darkness Study Guide which includes 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!

After Darkness 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 .

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)

Authorial intent is without a doubt one of the most important parts of any analytical essay in VCE English because talking about it is what offers the deepest level of analysis and shows the examiners that you have thought deeply about the text at hand. If you can discuss authorial intent effectively, you’ll be able to show that you have a solid understanding of what you are talking about and that you’re not working exclusively with surface-level ideas.

What Is Authorial Intent?

When we talk about authorial intent, what is really being referenced is the author’s reason for writing their piece in the way that they have and what messages they are trying to convey. Essentially, it’s what your teacher wants you to think about when they ask you things like “why is the door red?”. More generally speaking, why has the author made a point of telling us as readers the weather at that time? Why has that character been given that particular line of dialogue? Why have they brought in that specific tone for this part of the text? These are all the kinds of questions that you should be asking yourself when you’re reading through material that you have to analyse.

You might also hear authorial intent talked about as the writer’s ‘views and values’ . If you’re unsure what views and values actually mean, you can kind of think of it as though the ‘views’ are how the author sees something and the ‘values’ are how the author thinks about something. Essentially, their opinions and perspectives are their views, whereas their morals and principles are their values. These two elements will often be central to the overall intention behind writing their text.  

Why Is Authorial Intent Important?

Authorial intent plays a major role in your interpretation of the text; if you can’t figure out what the intent is, you will often miss out on key points and messages throughout the text. If you are lucky, the author will make it really clear to you as a reader what their intent is; however, this often is not the case. That being said, whether their intent is stated or implied doesn’t matter - there will always be something there for you to talk about.

How To ‘Find’ Authorial Intent in the Text: Key Identifiers To Look Out For

If you come across a text that makes it a little bit more difficult to discern what the author is actually trying to say, a good place to start is to look at the context behind the piece of writing. 

The time period the novel/movie/play is set in is often a good indicator of what the author is saying. The author will often be using their text as a means by which they can comment on or critique one or more elements of that society, or perhaps as a metaphor for events that are occurring at the time the text is/was written. Alternatively, they may be portraying their view about the events that actually occurred during that time. For example, if you have a text that is set in the Georgian era, it is likely that the author’s message has something to do with colonialism or imperialist mindsets (zeitgeists) because this was a very dominant theme in that society. 

Some other reasons you might consider an author having could include: 

• to highlight the importance of something
• to criticise a behaviour or mindset
• to ridicule certain actions
• to warn against something
• to discourage people from doing something
• to convey certain political messages or controversial opinions

Realistically there is a broad range of things that the author could be saying, it's your job to pinpoint what that really is. 

Once you’ve determined what it is the author is generally talking about, you then need to start thinking about the way that this has been represented. This is where you start to bring in the characters, the events, the dialogue, the inner monologues. Basically, you start looking for the elements that the author has added, not necessarily for a story-telling purpose but, more so, to convey their views and values through the text. This isn’t always going to jump right out at you so there may be a bit of deeper thinking involved. 

Another good place to start is to try to identify the central themes of a text. This might be something like ‘Judgement’, ‘Redemption’, ‘Guilt’, etc. The author wouldn't have made these themes so relevant if they didn't have anything to say about them. Once again, this is where you look at the quotes, the setting, the characters and other features (as mentioned before) just with a more theme-focused approach. 

Useful Vocabulary & Sentence Examples 

When you come to actually putting together a paragraph, it is really important that you don’t forget to include authorial intent at some stage (at least once per paragraph). If you work with a TEEL structure (watch from 05:10) as the baseline, these kinds of comments about the author’s intent would usually be located within the ‘explanation’ section. A good way to double-check that you’ve incorporated authorial intent is to go back through your paragraph and make sure that the author’s name is in there somewhere. If you’ve talked about authorial intent you likely will have said something like:

‍ ‘In doing so, (Author) condones the (whatever it is they condone).’

Sentence Templates

Below are some sample sentence structures that you might think about using throughout your essays. Obviously, the particular vocabulary will vary depending on what your text is and which message you are talking about, but these are good as a guide.

• Through (example from text) AUTHOR (offers, provides, asserts) a (condemnation, evaluation…) of (idea, theme, concept, action…)

E.g. Through emphasising the internal struggle faced by Rooke during the floggings, Grenville offers a condemnation of the Empire’s heinous approach to loyalty, as the threat of ‘wirling at the end of the rope’ essentially forces individuals to value duty over conscience. (The Lieutenant)

• In doing so, AUTHOR (establishes, condemns, reveals…)

E.g. In doing so, Miller reveals the self-destructive nature of religious extremism in breeding instability and conflict. (The Crucible)

• (scene, event…) allows AUTHOR to (suggest, convey, assert,…) that 

E.g. Her sorrowful pleas that ‘she beg me to make charm’, fraught with grammatical errors, allow Miller to saliently illustrate the gulf that exists between the vulnerable outcasts such as Tituba and more privileged individuals within a community, in this case, Reverend Parris. (The Crucible)

• AUTHOR’s depiction of (character) as (courageous, morally conscious, selfish…) emphasises their belief that…

E.g. Ham’s depiction of Teddy as a morally conscious and genuine individual emphasises her belief that it is possible to transcend the social codes enforced by one’s community. (The Dressmaker)

• AUTHOR’s suggestion that… (serves as a reminder, highlights, emphasises the importance of…)

E.g. Euripides’ blatant suggestion that the fate of most of these women is in servitude and sexual slavery is a damning reminder that the victims of war are not just those killed during the conflict. (Women of Troy)

• (Hence, thus, as a result…) AUTHOR asserts that… 

E.g. Thus, Euripides asserts that victory in war ultimately proves futile as loss will inevitably be suffered somewhat equally by both sides. (Women of Troy)

• Evident through AUTHOR’s (characters’ actions/dialogue/section of text…) is the idea that…

E.g. Evident through Miller’s depiction of the struggles faced by Goody Osburn and Goody Good is the idea that where geographical isolation and strict moral codes render a community intolerant, the marginalisation and ostracisation of those who do not fit the societal mould is inevitable. (The Crucible)

• Through (action, quote, scene…) AUTHOR seeks to…

E.g. Through highlighting the harm which can result from individuals utilising their power to manipulate situations, Ham seeks to expose the damages caused by ignoring the truth, particularly when done so for personal benefit. (The Dressmaker)

If you’ve gotten to this point then hopefully that means that you are starting to get a better understanding of what authorial intent actually is, the thought processes that go into finding it and why it is such a useful and important element to analyse. Most importantly, I hope that you can at least start recognising the way that the author’s voice comes through in the particular texts that you are studying, and that you can start looking at including some of those observations and ideas when you're writing your responses.

Authorial Intent is an aspect that's going to be relevant to Text Response & Comparative for the most part, but it's also handy to understand for Language Analysis !

Contention and Topic Sentences

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

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

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

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

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

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

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

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

Points to remember:

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

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

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

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

Metalanguage is language that describes language. The simplest way to explain this is to focus on part 3 of the English exam – Language Analysis. In Language Analysis, we look at the author’s writing and label particular phrases with persuasive techniques such as: symbolism, imagery or personification. Through our description of the way an author writes (via the words ‘symbolism’, ‘imagery’ or ‘personification’), we have effectively used language that describes language. For a detailed discussion, see  What is metalanguage?

• Protagonist
• False protagonist
• Secondary character
• Supporting character
• Major character
• Minor character
• Philosophical
• Non-fiction
• Short stories

Language form

• ProseIambic pentameter
• Blank verse

Narrative mode

• First person view
• Second person view
• Third person view
• Third person objective
• Third person
• Third person omnipresent
• Third person limited
• Alternating narrative view
• Stream-of-consciousness
• Linear narrative
• Nonlinear narrative

Narrative tense

• Anti-climax
• Trope-cliché
• Turning point
• Geographical

Other literary techniques

• Active voice
• Alliteration
• Ambivalence
• Bildungsroman
• Characterisation
• Cliffhanger
• Colloquialism
• Complex sentence
• Compound sentence
• Connotation
• English (American)
• English (Australian)
• Flash forward
• Foreshadowing
• Juxtaposition
• Onomatopoeia
• Passive voice
• Periphrasis
• Personification
• Positioning
• Simple sentence

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 .

Passage 1: Act 1 Scene 3

   [Aside] Two truths are told,

   As happy prologues to the swelling act

   Of the imperial theme.--I thank you, gentlemen.

[Aside] This supernatural soliciting

   Cannot be ill, cannot be good: if ill,

   Why hath it given me earnest of success,

   Commencing in a truth? I am thane of Cawdor:

   If good, why do I yield to that suggestion

   Whose horrid image doth unfix my hair

   And make my seated heart knock at my ribs,

   Against the use of nature? Present fears

   Are less than horrible imaginings:

   My thought, whose murder yet is but fantastical,  

   Shakes so my single state of man that function

   Is smother'd in surmise, and nothing is

   But what is not.

Passage One from Act 1 Scene 3 takes place just after Macbeth has just been announced as Thane of Cawdor proving part of the Witches’ prophecy true “All hail Macbeth…Thane of Cawdor…/that shalt be king hereafter.” This part of the play is the first insight we have on Macbeth’s inner thoughts.  

Macbeth’s firm and thoughtful tone in the opening alliteration “two truths are told ” stresses how serious he takes the Witches’ predictions. Shakespeare presents this passage as a soliloquy in order to convey Macbeth’s true inner thoughts and motives. As this is Macbeth’s first soliloquy, it emphasises the strong possibility of Macbeth heading down a dark journey as he cannot forget the Witches’ predictions “(it) cannot be ill, cannot be good. If ill, / Why hath it given me earnest of success, Commencing in a truth?”

Shakespeare uses the metaphor of theatre for fate . The meta-theatrical reference, ‘as happy prologues to the swelling act’ makes the audience consider the action that will unfold in the following scenes through foreshadowing.

Macbeth feels that committing regicide will be a “supernatural soliciting”. The word “supernatural” demonstrates that Macbeth acknowledges that such an act is “against the use of nature.” It suggests that if Macbeth kills Duncan, he will forever be trapped in the supernatural world for his dishonourable action. The alliteration of “supernatural soliciting” sounds incredibly seductive, and therefore highlights Macbeth’s lust and thirst for the crown.

There is a physiological response to his unnerving thoughts as the ‘horrid image doth unfix my hair’ and ‘my seated heart knock at my ribs’ , emphasising the horror of Macbeth has with himself  at his thoughts.

The personification “my seated heart knock at my ribs” once again depicts the increasing fear that Macbeth experiences as his heart is not “seated” with its connotations of calmness and steadiness but “knock(ing)” which is associated with alarming fear.

As Macbeth struggles with his conscience and fears “my thought, whose murder yet is but fantastical,/ Shakes so my single state of man,”  he is uncertain whether or not he should take the prophecy into his own hands and murder Duncan or, let time decide his fate “time and the hour runs through the roughest day”. The consonance ’s’, Shakes so my single state of man”.. ‍

The alliteration “smothered in surmise” demonstrates how Macbeth’s vivid imagination causes him to struggle with fear and hesitate undergoing the action that is foreseen by him as a “horrid image.” These mental images are of significance throughout the play as it is evident that Macbeth’ conscience results in him “seeing” a dagger and also Banquo’s ghost.

The antithesis “and nothing is,/ But what is not” is deliberately broken up into two lines to demonstrate the ambiguity of Macbeth’s thoughts and the confusion which evidently contributes to his overall fear. Macbeth’s actions become overpowered by his imagination until ‘nothing is but what is not’ or imagination carries more weight than action. The partial alliteration of ‘smother’d in surmise’ and the antithesis of ‘nothing is but what is not’ makes this notion seem again, particularly seductive to the audience. The word ‘smother’d’ , with it’s connotations of oppression, further amplifies the notion and even suggests that Macbeth’s imagination takes the place of his will.

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

Introductions

Clint Eastwood’s 2009 film ‘Invictus’ centers on the events following the election of Nelson Mandela, South Africa’s first black President in the post-apartheid era. The film follows President Mandela’s attempt to infuse a deeply divided country with new energy, by supporting the South African rugby team’s victorious 1995 World Cup Campaign. The unlikely bond formed between President Mandela and Francois Pienarr, the captain of the rugby team, illustrates themes of unity and reconciliation in a divided nation. The film begins with the image of a deeply divided society in 1990, as Mandela is released from 27 years of incarceration. A poignant opening scene sees Mandela drive along a long dirt road that runs between two playing fields, on one side, young black children shout excitedly as Mandela passes. On the other side, immaculately dressed white boys stare vacantly, as their coach proclaims, “This is the day our country went to the dogs.” This tumultuous period in South African history is of central concern to ‘Invictus’, as Eastwood portrays the lingering racial prejudices imbedded in this society. The film portrays the tension between the bitter resentment of black South Africans towards their former oppressors, with the fear and uncertainty of white Afrikaners under Mandela’s political leadership. Eastwood masterfully depicts the true story of the moment when Nelson Mandela harnessed the power of sports to unite a deeply divided South Africa.

Set during the Trojan War, one of the most famous events in Greek mythology, David Malouf’s historical fiction ‘Ransom’ seeks to explore the overwhelming destruction caused by war, and the immense power of reconciliation. Drawing on the Iliad, the epic poem by Homer, Malouf focuses on the events of one day and night, in which King Priam of Troy travels to the enemy Greek encampment to plead with the warrior Achilles to release the body of his son, Hector. Maddened by grief at the murder of his friend Patroclus, Achilles desecrates the body of Hector as revenge. Despite Achilles refusal to give up Hector’s body, Priam is convinced there must be a way of reclaiming the body – of pitting new ways against the old, and forcing the hand of fate. Malouf’s fable reflects the epic themes of the Trojan war, as fatherhood, love, grief and pride are expertly recast for our times.

Malouf and Eastwood both depict societies on the brink: Troy faces annihilation by the Greeks, while South Africa faces an uncertain future as it emerges from the injustices of the apartheid era, both worlds are in dire need of true heroes to bridge the great divide. Together, these two texts echo the significance of hope in the enactment of change. To learn more, head over to our full Ransom Study Guide (covers themes, characters, chapter summaries, quotes and more).

The power of shared human experiences

Both texts are centrally concerned with the significance of the universal experiences of love, loss, grief and hope to unite a divided people. Both Invictus and Ransom explore how societal forces divide people into different, often conflicting groups – whether this be race, history, culture, or war. Each text appeals to the universal experiences that define the human condition, and emphasise the significance of opportunities to cross-cultural divides.

In ‘Ransom’, Malouf is centrally concerned with the theme of fatherhood. This concept links the mortal and godly realms, which King Priam straddles over the course of his journey. The relationship between Priam and Somax illustrates this complex theme most clearly. The two men, despite being deeply separated by their class, education and power, share their common familial experiences. Priam confronts the poignancy of their shared experience of losing sons, questioning whether it “meant the same for him as it did for the driver”. Malouf thus presents Priam as initially lacking in terms of his understanding, Somax’s friendship and stories are the catalyst for Priam to engage in deeper, empathetic understanding. Somax’s trivial yet symbolically significant story about the griddle-cakes represents a moment of anagnorisis for Priam, wherein the shared bond of humanity in fatherhood allows Priam to obtain insight, and progressively grow as a human and as a leader. This incident fuels the journey to appeal to Achilles “man to man”, Priam’s insight into the power of empathy allows him to appeal to their shared bond as suffering fathers.

Just as Priam goes to Achilles “as a father”, using their common quality, fatherhood, to further understand each other, Mandela, too, emphasises the point that you must “know [your] enemy before [you] c[an] prevail against him” and thus he “learned their language, read their books, their poetry”. Mandela attempts to unite Black and white South Africans, despite the mutual animosity and distrust fostered by decades of apartheid. Black and White South Africans share almost nothing in common, with significant cultural and societal barriers to their reconciliation, including different dialects. Rugby emerges as the most poignant manifestation of this divide as the White South Africans support their national team, but the black south Africans barrack for the opposing side. The scene wherein Pienarr and Mandela meet over tea is symbolic of this sentiment of fostering unity amongst deep divisions. President Mandela literally hunches over to pour the tea for Pienaar, this inversion of status demonstrates his willingness to reduce his dignity as a superior and speak with Pienarr, and by extension, white south Africans, on an equal level, modelling an example of how race relations in his nation should be carried out. This equality is also symbolised by the passing of the tea to Pienaar, the close up shot where both arms of the individuals are depicted on an equal level reinforces this sense of mutual equality and respect, extolling the virtues of empathy and integrity as a uniting force.

Leadership and Sacrifice

Mandela and Priam symbolise how leadership must inevitably entail familial sacrifices. Both leaders self-identify with their nation and people. Priam embodies Troy itself, his body is the ‘living map’ of the kingdom.  The ‘royal sphere’ he embodies is constrained by customs and tradition, full of symbolic acts that separate him from the mortal world. To an extent, these royal obligations and ritual suffocate Priam’s individuality and he is unable to show his true nature, or connect with his family in the way he would desire to. He regards intimate relationships with his children as “women’s talk” that “unnerves him” as it is not “his sphere”. This articulation of the disassociation of the “royal sphere” with natural human bonds of family reveals the secondary role that family and love must take when one’s role as a leader is paramount. Similarly, Mandela claims “I have a very big family. Forty-two million people”. Unlike Priam, Mandela seeks human connection, predicating his leadership on democratic ideals. This takes a physical and emotional toll, as shown by Mandela’s collapse in his driveway. The cost of leadership here is evident, as Mandela has effectively sacrificed his family for the good of his nation. His strained relationship with his daughter Zindzi further reinforces this, as she disapproves of Mandela reaching out to Pienarr, likening him to one of the white “policeman who forced (her) out of her home”, showing the disconnect between father and daughter due to the sacrifices necessitated by Mandela’s life of leadership, including his 27 year imprisonment.

Fatherhood and Masculinity

In ‘Ransom’ Malouf presents an enclosed, limited and unemotional masculine world, with particularly stringent expectations for men’s behaviour. This is a world characterised by war, wherein the expectations of violent masculinity are paramount. In presenting Achilles inside of “a membrane stretched to a fine transparency”, Malouf reveals the constant tension between the emotional, domestic human nature inside Achilles and the hierarchical violent external society that he is expected to abide by, revealing the constricting nature that the society has on defining men’s actions. Malouf uses words like “knotted” and “rope-like” when describing Achilles’ muscles, implying that his conventional great strength, the source of his fearsome reputation, represents a confinement that the society enforces on him and other men. Further, through a degree of compassion, Priam is able to touch the “sore spot whose ache he has long repressed” in Achilles, a symbol of the emotions that have been supressed by the dominant patriarchal nature of this society.

Whilst the world of ‘Invictus’ is less overtly masculine and patriarchal, the narrative of the film is primarily focused on the male experiences, with female characters assuming a largely secondary role. Zindzi’s strained relationship with her father exemplifies the sacrifices involved in leadership. Whilst Mandela is seen to have sacrificed a close connection with his daughter, this is suggested to be in service of the nation, “I have a big family. Forty two million people”.

Character analysis and comparison

Character analysis/comparison.

- aging king of troy

- individuality has been subsumed by the ceremonial functions of his high position

- self-identifies with nation

- life of obligation

- foregoes convention and embraces chance with his proposal to offer ransom for his son’s body

- becomes more attuned to the natural world

- gains a greater appreciation of his true self as a man, rather than a symbolic figurehead

- historic figure, symbol of peace

- spent 27 years in prison for sabotage and conspiracy to overthrow the government while he was trying to gain civil rights for all south Africans

- tackled institutionalised racism, poverty and inequality

- suffered under apartheid

- pursues reconciliation, prepared to face down calls for retribution

- in his speech to the sports council, he defends the traditions of the people who persecuted him

- interacts easily with people of all social standings

- charismatic, in touch with the people

 Comparison

- embody essential role that leadership plays in achieving just resolutions to conflict

- sacrifice family for leadership

- illustrate that effective leadership takes a toll on the individual

- exemplify that reconciliation requires unexpected and difficult acts. Such as Mandela’s embrace of the Springboks and Priam’s appeal to Achilles “man to man”

- both show effective leadership involves expressing empathy and understanding the humanity of your enemies

Literary and cinematic techniques

- In one of the first scenes in Mandela’s office after he is elected President, Eastwood strategically frames the racial segregation and tension between the two groups via the mise-en-scene; they stand on separate sides of the room, wearing distinctly different clothing and calling Mandela either “Mr President” or “Madiba”, representative of their own identity. The lingering tension between the two groups permeates the entirety of the film, and the microcosm of the bodyguards acts as a symbol of the chasm within the wider nation.

- The deeply symbolic scene wherein Mandela and Pienaar have tea, Eastwood strategically uses a close up shot to frame the passing of the tea cup so that both arms of the individuals are depicted on the same level, reinforcing this sense of mutual equality and respect. It is this sharing of hope that ignites Pienaar to reciprocate Mandela’s egalitarian actions. As Pienaar brings a ticket for Eunice, recognising that “there’s a fourth” family member, he mimics Mandela’s value that “no one is invisible”. Consequently, it is demonstrated that regardless of skin colour, characters reciprocate Mandela’s empathy and compassion, revealing the limitless power such human qualities to reach across the boundaries of division.

- The wide shot of the passing of the trophy from Mandela to Pienaar is framed against the large crowd, metaphorically representing South Africa’s support with the unity of the black and whites, reflecting Mandela’s desire to “meet black aspirations and quell white fears”. Their diegetic cheers work to create the idyllic depiction of the lasting power of this change, implying the true limitless nature of hope in their society.

Learn more through Caleb (English study score 47) about Invictus Film Technique Analysis - How Can I Write About It?

- Priam’s moment of anagnorisis in which he discovers the concept of “chance”, marks the beginning of his enactment of change through the power of hope. Despite his family who wishes that he would “spare [himself of] this ordeal”, Priam’s vision guides him to overcome familial and societal obstacles in pursuit of reconciliation.

- Symbol: Griddlecakes – represent pleasure in common things, but also the growing realisation within Priam of his distance from such pleasures. The love and care with with Somax’s daughter cooked the cakes has a value that surpasses the conventional riches associated with the ruling elite. This is a catalyst for a moment of realisation for Priam.

English is tough. Whether it be memorising quotes or writing under timed conditions, everybody has something that they need to work on — some missing link that may make the difference between grades.

The fun yet exasperating part of English is that there’s always some way to improve. Even the best of the best can struggle with differentiating themselves from the pack, irrespective of how many quotes they know or how well they understand the subject matter. Often, students can feel shackled by the formulaic “topic sentence plus explanation plus evidence plus analysis plus concluding statement”, leaving great ideas in the mud as they scramble to fit their essay into restrictive boxes.

Sometimes, the conventional structure of an English essay can weigh a student down, which is why bending those rules is a skill that, eventually, can prove the key to truly going above and beyond .

Walk before you run

Before you move past your structure, though, you’ve got to know it.

Every essay paragraph needs to hit on a few key points: a main argument, evidence, and analysis of that evidence relating back to the prompt. For example…

In Station Eleven, forgetting is more important than remembering. Do you agree?

Planning is crucial irrespective of your writing style. The texts you study are meant to be thought-provoking, so thought needs to go into what you’re going to say even before you start saying it. My more flexible, relaxed essays always resulted in plans that looked identical to more conventional responses, as seen below.

• Forgetting is important as a coping mechanism to the post-modern world -> older people who “lost more” e.g. Jeevan, Dieter, Clark’s demands to “[not] think about it”
• Nevertheless, remembering is important in forging paths to the future -> the Travelling Symphony
• When they are both embraced, both forgetting and remembering can create the new and honour the old -> the Museum of Civilisation and the electric town

Once you have this understanding of structure, you can begin to move past it.

What exactly does an essay “beyond structure” mean? The way English is currently taught results in a lot of essays more or less looking the same, with a topic sentence dutifully followed by explanation of that point, and evidence not being introduced until about halfway through the paragraph.

Essays beyond structure don’t ignore those points, but rather, they shuffle them around a little. Evidence can be introduced right after the topic sentence, for example.

The shock of the Georgia Flu is catastrophic, entirely subverting the technological interconnectedness of the 21st century… The “divide between a before and an after” that the Georgia Flu marks is so devastating and uncompromising that it is little wonder, then, that forgetting should become such a crucial tool for reconciling oneself with the radical new world order.

Growing out of "crutch" phrases

In structured essays, transitions between points are obvious. When we want to introduce a quote, we say something like “In Mandel’s Station Eleven… ”, and when we want to analyse that quote we say “Here, the author…”.

Of course, there’s nothing wrong with using phrases like these! They can be very helpful in showing your assessor where you are addressing the task and the text. But addressing “crutch” phrases in your writing, which are often overused and underdeveloped, is a fairly straightforward way of forcing yourself to write differently.

Some “crutches” that I always used include:

• This exemplifies… – introduction to analysis
• Indeed… – transition to another point
• Ultimately/In conclusion… – concluding

It is important not to mistake signposting for these crutch phrases, such as “Furthermore” or “Conversely”. Signposting helps assessors determine when you are building on or deviating from previous points, which is highly useful when they’ve read a hundred essays on the same prompt as yours. Crutch phrases, on the other hand, make you feel better about your essay, when in actuality they contribute very little and could be rewritten to be something of greater value.

The following statement follows the typical English pattern of evidence to analysis.

In Emily St John Mandel’s Station Eleven, Dieter “longs for the sound of an electric guitar”. This exemplifies the wider loss of technology, and even identity, suffered by humanity after the Georgia Flu, and indeed is further highlighted by the “incomplete list” of Chapter 6.

There’s nothing wrong with the analysis above, and it makes a good point about the text. But removing “This exemplifies” forces a writer to try something daring and new…

Dieter, an otherwise well-adjusted member of the Travelling Symphony, “longs for the sound of an electric guitar” – his desire echoes Chapter 6’s list, and the omnipresent lack of electricity to a species once defined by it.

Shorter quotes are your friend

A great way to keep up the momentum of such an essay is to let points bleed into each other. There is no rule in English that says the first two sentences of your paragraph can’t include evidence, nor any regulations stipulating that the end of a paragraph has to be a rewritten version of the topic sentence.

Evidence, I have found, is the best way to bridge gaps between discrete points of structure. Not only does using evidence show understanding of the text, but it doesn’t have to be an entire sentence all on its own. Sometimes, two or three words are enough to marry two points – and, at the end of the day, shorter quotes are easier to memorise!

Mandel’s narrator mourns fundamental modern aspects of survival, such as “pharmaceuticals” and “fire departments… police”, in the same space that she pays homage to “concert stages” and “social media”. The resulting impression is not one of traditional cutthroat dystopia… Rather, Mandel’s quiet remembrance of the … modern innovations of technology that brought the 21st century together … highlights the emotional consequences of such ease of communication being lost.

Reading is fundamental

If you’re feeling a little overwhelmed about moving beyond structure, don’t worry – there’s something quick and easy that you can do right now to help push your writing, and it doesn’t even involve any writing of your own.

If you get the opportunity to, I would encourage you to read other people’s essays. Obviously, higher-grade essays are always valuable, but they can also be intimidating, even demoralising. I’ve found that reading essays at my grade level, or even lower, have been fantastic for learning new phrases and picking up different bits of evidence.

The best thing about English, in my opinion, is the same thing that brings it the most criticism – that there is no right answer. It can never hurt your understanding of a text (or your potential grade) if your discussion is informed about more perspectives.

Practice makes... progress!

At the end of the day, any and all good English essays have their roots in the fundamentals. Even as you play around with structure and move past formula, it is always crucial to remember the basics, and to return to them if you feel like you’re getting lost.

Always remember to link back to the prompt! It’s something so basic and obvious that students of all grades overlook. The prompt is the backbone of your essay – make sure that you keep it centre stage.

Get feedback as often as you can, whether it be from teachers, tutors or other students that you trust. English is a game of constant tweaking and refinement, and the more feedback you get the better your essays will be for it.

Finally, practice. Writing, like any skill, can only be honed and improved if one puts effort into honing and improving it. Writing beyond structure often comes as a massive learning curve, and it is diligence and a willingness to learn – not natural talent – that will allow you to become better and better at it.

To conclude

English is tough, and because almost everybody does it, it can be hard to stand out from the masses. Being different takes courage, and in VCE it certainly takes a lot of work, but I have found that writing beyond structure has the potential to elevate not only your understanding of a text or your performance in SACs and the exam, but your enjoyment of writing for English as a whole.

• Historical Context
• Plot Summaries
• Themes, Motifs and Key Ideas
• Sample Essay Breakdown

For a detailed guide on Comparative, check out our Ultimate Guide to VCE Comparative.

1. Historical Context

To understand the works of Franklin and Ziegler, we are going to take a look at the historical contexts in which the texts were written. By doing this, we’ll establish a proper understanding of some of the language and concepts that you might have experienced in class. The three specific historical contexts that we will address are life in 1950s London , uncovering the enigma of DNA as well as 19th-century rural life in Australia . As you continue to read this study guide, you may wish to refer back to this section if you find some of the terminologies and references confusing!

Life in 1950s London (Photograph 51)

Photograph 51 is set during the 1950s in London. This was a challenging time for everyone, largely due to Britain’s impaired economy after the war, as well as the financial obligations of the nation to the United States. An iconic local feature of this time was the fact that the government encouraged everyone in the nation to grow food for themselves and their communities. Everywhere you looked, land was being used to farm crops! Indeed, people would grow food everywhere that they could because government rations were strictly enforced and the 1950s was a decade marked by the struggle for parents to find enough food for themselves and their children. This was a difficult situation in which to live and work. However, in this time after the Second World War, Britain experienced changes on a scale never experienced by the country before. The war had cost Britain its status as a nation of monumental power, and in the 1950s the nation was looking to rebuild itself. This was a period of enthusiasm and optimism, in which many technological and scientific developments were made. Computers became more sophisticated, and humanity deeply desired to explore the workings of the world.

Nonetheless, during this time of hope and progress, women were remarkably undervalued , and female professionals were often treated with contempt. We are provided with a snapshot of what this looked like in Photograph 51 . As a Jewish woman in the 1950s, Rosalind Franklin is depicted as a target for prejudice in the world around her. For example, she is not permitted to dine with her male colleagues at lunch, which renders her unable to engage in meaningful conversations with her colleagues and debate about their research and ideas. Additionally, despite the fact that she is just as qualified as Wilkins, he continually ignores her qualifications and achievements. We see this as he refers to her with the patronising nickname ‘Rosy’, which underscores the reality that he sees her as inferior to him. It is evident that the professional world was a challenging place for women and minorities during the 1950s in London. However, Rosalind Franklin was willing to persist with her important scientific work in this formidable social setting.

19th Century Rural Life in Australia (My Brilliant Career)

My Brilliant Career was published in 1901. This was the year when the Commonwealth of Australia was formed, as the colonies of Western Australia, Tasmania, Victoria, Queensland, South Australia and New South Wales united as one nation. The text is set in areas around Goulburn in Australia in the 1890s, which is around 195 kilometres - or a two-hour drive - in the South-West direction of Sydney. To put it bluntly: Australia was a challenging place to live in in the 1890s. Take a moment to consider the harsh realities of life in this time and place. During this time, most of Australia was a rural environment and this was an era in which Australians were confronted with drought, economic hardships and high unemployment rates. Indeed, the period of prosperity during the 1850s gold rush was, unfortunately, coming to a close, international investment in Australia was devastatingly declining and the price of wool and wheat was dropping at a dangerous pace. The dire economic situation was certainly not helped by the long drought, which created a distressing situation for the agricultural industry. As we see in the text, Sybylla’s father is a dairy farmer, and her family lived through this unbearable summer heat, the harsh drought and the pain caused by dying livestock. Miles Franklin convincingly uses Sybylla and her family to illustrate the extent to which the adversity of the time had an impact on everyone and the fact that nobody could escape it.

During this period, many women had to take up jobs to support their families, due to the turbulent economic times. Having said that, this was a challenging environment for a woman to pursue a career. Marriage was seen as the only appropriate venture for a woman, and women were expected to marry as soon as they were able to. It was basically unthinkable for a woman to work and pursue a career unless she was working while she waited to be able to depend upon a husband for support. Those who chose not to marry were treated poorly by the world around them. In particular, women could be traded and bartered as labour, and we see when Sylblla becomes a governess to repay her family’s debt.

During this challenging time, it was becoming increasingly common for young women in Australia to publish books, with Miles Franklin being one of them. Nevertheless, Miles Franklin - officially born Stella Franklin - ensured that ‘Miss’ was excluded from her name on the cover of her text. Presumably, she did not want her readers to assume that My Brilliant Career was written by a woman, as this may have harmed sales. Despite this, it is undeniable that social perspectives surrounding gender roles were gradually shifting towards permitting women greater rights within society. For instance, women were eventually granted the right to vote in federal elections in Australia when the Franchise Act was passed in 1902. We see such a progressive attitude represented in the text through Sybylla. Despite the social expectations placed upon her, Sybylla has aspirations for her future. As part of her aspirations, she must choose between the traditional route of marriage to Harry Beecham or her plans to pursue a career. Through this, we see that Miles Franklin welcomes the potentiality for increased social freedom for women to pursue meaningful occupations. In defiance of what society expected of her, she wanted to do something with her life and have a meaningful career! Much like many women of the day in rural Australia, pursuing such a path was no easy task and she faced much opposition.

2. Plot Summaries

We’re now going to take a quick look at the plots of My Brilliant Career and Photograph 51 . However, I cannot overemphasise the importance of setting aside the time to read these texts in detail and annotate them for yourself. You may wish to use these summaries to refresh your memory about the plot, or to stay on track if you get lost or confused while you read! We’ll provide you with a general overview of what happens, with a particular focus on the key events in each text.

Summary: My Brilliant Career

My Brilliant Career is an Australian literary classic by Stella 'Miles' Franklin which is set in rural New South Wales in the late nineteenth century. The story is presented in an autobiographical format and depicts the life and travels of Sybylla Melvyn and her family. The novel is written in a fairly free-flowing format, which Sybylla unapologetically explains is the result of her life being unstructured and lacking a plot. At times you may be frustrated with Sybylla’s pessimism and cynicism . At other times, you may hold back tears as you reflect on the adverse circumstances she faces as she pursues her goals and strives to find purpose in her life.

The novel commences with Sybylla and her family living in Bruggabong. Sybylla is content with her life here, with the freedom to roam around and ride horses as she pleases. However, as the first chapter comes to a close, we are told that Sybylla’s father, Dick Melvyn, intends to sell his stations and move his family to Possum Gully. He hopes that Possum Gully will present him with greater financial opportunities through trading farm animals. Sybylla is frustrated by the move and perceives her family’s new home as boring and monotonous. At the same time, life is hard for her mother, who becomes increasingly critical of Sybylla who seems to be developing into a rebellious child. Dick inflicts a great deal of pain upon his family, as he spends too much time in town, loses money with every sale and becomes an alcoholic. The drought certainly doesn’t simplify matters, with the scorching heat taking a toll on Sybylla, her family and their animals.

Eventually, we learn that Sybylla’s grandmother has decided to take Sybylla to live with her in Caddagat. Sybylla enthusiastically agrees and celebrates the opportunity to experience life in a different location away from the difficulties of Possum Gully. Whilst in Caddagat, she lives with Grandma Bosser, Aunt Helen and Uncle Jay-Jay. During her time there, several men approach Sybylla with an interest in marrying her. The first is Everard Grey, a wealthy lawyer from Sydney with a keen interest in the performing arts. She is denied the opportunity to travel with him and he neglects her upon hearing this news. Frank Hawden, a farmhand to the family, is attracted to Sybylla, but she sharply rejects him due to his unsophisticated demeanour. Finally, she meets Harold Beecham of Five-Bob Downs. They enjoy spending time together and he brings out Sybylla’s playful side. They eventually become engaged. However, Sybylla never intends to marry him and only agrees to the engagement on the condition that it is kept a secret between the two of them. She shares to her audience that she intends to break off the engagement as a means of stirring up and confronting Harold. Eventually, Harold is forced to leave Five-Bob Downs due to his financial misfortune resulting in the loss of his property. However, he and Sybylla agree to maintain their engagement and commit to marrying after a few years. Having said that, Sybylla never really has any intention of marrying Harold, for she views marriage as restrictive and unnecessary controlling of her freedom to pursue her own life.

Shortly after Harold’s departure, Sybylla is confronted with the news that her father’s debt to Peter M’Swat means that she will be required to travel to Barney’s Gap to work as a governess for the M’Swat children. It would be an understatement to say that Sybylla is dissatisfied with this new state of affairs! She absolutely hates working for the M’Swat family! She finds that the house is filthy, the children are disobedient and she has very minimal personal space. All she wants is to go back and live with Grandma Bossier and Aunt Helen. However, her mother denies her this privilege, for she must repay her father’s debt. The experience at Barney’s Gap becomes so bad for her that she develops an illness due to the emotional strain that she experiences. Accordingly, Mr. M’Swat sends her back home to Possum Gully to be with her family.

Sybylla hardly receives a warm welcome from her parents. Her mother continually treats her as ungrateful, and her father’s drinking has had a significant impact on his demeanour. Her younger sister, Gertie, is sent off to live in Caddagat, and Sybylla feels as if Grandma Bossier, Aunt Helen and Uncle Jay-Jay have forgotten about her. To make matters worse, she feels as if Harold Beecham, who has been unable to return to Five-Bob Downs, is falling in love with Gertie. Eventually, Harold travels to Possum Gully. Sybylla is expecting her to ask Dick for permission to marry Gertie. But to her surprise, he actually intends to ask Sybyllla if she will marry him, even though she made it clear through her letters that she had no intention of doing so. For fear of hurting him and due to her view of marriage as restrictive, she rejects Harold again and sends him on his way.

And that’s basically the story! Sybylla concludes with some reflections on her position and purpose in life. She sees her purpose as completing the monotonous tasks that nobody wants to complete and she is thankful for the opportunity to earn her living through hard labour. Overall, we know that her ambition was to become an author, and this book is her final product as she writes about her various experiences.

Summary: Photograph 51

Photograph 51 is a play by Anna Ziegler which tells the story of the discovery of the structure of DNA. The title takes its name from the photograph taken by Raymond Gosling and Rosalind Franklin at King’s College in 1952. The play has been constructed by Ziegler with a bit of artistic license, and she herself admits that she has modified timelines, altered facts and events, and recreated characters. If we take a step back and look at the big picture, we have a great representation of events that makes some bold statements about injustice within the scientific community and society at large.

It is important to mention that this play is full of characters who break the fourth wall - a performance convention in which we usually imagine that there is a wall that separates characters from the audience when we watch a television show, movie or play. Ziegler has deliberately constructed this play in a manner where the characters that feature in the play provide commentary on the events to the audience. And this is how we start, with Rosalind directly speaking to the audience alongside Wilkins, Watson, Crick, Caspar and Gosling. Rosalind shares that the play will be about ‘powerful’ scientists accomplishing incredible feats. Shortly after this, our story begins (with frequent interruptions from the male scientists who want to bicker with each other and give their own commentary on the events).

Rosalind arrives at King’s College in London to work in the field of genetics. However, much to her surprise and dissatisfaction, she is told that she will be working on uncovering the structure of DNA. She also learns that she will be working with a doctoral student, Gosling, under the direction of Wilkins. Wilkins and Rosalind clearly don’t get along, and they are often fighting about something! Meanwhile, Gosling is clearly lower in the chain of hierarchy and awkwardly tries to have a say in matters.

Now, pay attention to this part, because it will be important for the end. Shortly after her arrival at King’s College, Rosalind goes to see a production of Shakespeare’s comedy, The Winter’s Tale . Ziegler doesn’t get into the details, but basically, this play features King Leontes and Hermione, his wife. Leontes murders Hermione upon suspecting her of unfaithfulness. In The Winter’s Tale , Leontes is able to pray Hermione back to life! Why is this significant to Photograph 51 ? Just remember for now that Rosalind can’t seem to remember who played Hermione in the London production, whilst she can recall who played Leontes. We may say that this represents the misogyny that Rosalind has internalised after facing a life of sexism from the world around her.

As Rosalind and Gosling work closely on taking photographs of DNA, Gosling urges her to go home and rest on several occasions. She refuses, as she wants to persist in her work! He also pleads with her to be careful around the beam, but she is reluctant to listen. It is clear that she disregards her health and well-being because she is fixated on the task at hand.

We are introduced to two other scientists, Watson and Crick, who are also competing in the race to discover the structure of DNA. Another character, Caspar, is introduced around this time. He’s a PhD student who is captivated by Rosalind’s work and writes to her for assistance with his research. He eventually finishes his PhD and obtains a fellowship at King’s College where he develops a close relationship with Rosalind.

Over the course of the play, Wilkins works progressively closer with Watson and Crick, and eventually shares Rosalind’s Photograph 51 with them. This image, having been captured and developed by Rosalind and Gosling, was crucial to their discovery of the double helical structure of DNA. Watson and Crick are also able to access Rosalind’s unpublished paper which details all of her findings.

Rosalind and Caspar are having dinner together and Rosalind admits to the audience that she has feelings for Caspar. However, she does not share this information with him. During this time, Rosalind has some pain in her stomach and it is revealed that she has cancer, with two tumours in her ovaries. It is likely that this came about due to her close work with X-rays. She becomes very sick and eventually dies at the age of thirty-seven.

We are informed that Watson, Crick and Wilkins all receive the Nobel prize for their work on uncovering the structure of DNA. Meanwhile, Rosalind receives no credit, even though her research was what helped them with their breakthrough.

In the final moments of the play, Rosalind and Wilkins talk about The Winter’s Tale . Wilkins shares that he saw her entering the theatre on the day when she saw the play, but he decided not to enter with her. He regrets this and it is clear that he has lived a life full of regret. Wilkins wishes he could bring Rosalind back to life, just as Leontes does with Hermione in Shakespeare’s play. However, he regrets that this is not possible and must carry on his life with guilt and regret for the decisions he has made and the way that he has treated Rosalind.

3. Themes, Motifs and Key Ideas

Through discussing themes, motifs and key ideas, we’ll gain a clearer understanding of some super important ideas to bring out in your essays. Remember that, when it comes to themes, there’s a whole host of ways you can express your ideas - but this is what I’d suggest as the most impressive method to blow away the VCAA examiners. We’ll be adhering to the CONVERGENT and DIVERGENT strategy. While this study guide doesn’t go into too much detail about using LSG’s CONVERGENT and DIVERGENT strategy , I’d highly recommend you familiarise yourself with it by reading LSG's How To Write A Killer Comparative .

CONVERGENT: Yearning

Within Photograph 51 and My Brilliant Career , we are presented with characters with profound ambitions to overcome adverse circumstances. Indeed, both texts featured major and minor characters, who yearn to overcome their circumstances and make the most of their unfortunate situations. At the conclusion of My Brilliant Career , Sybylla questions the nature of 'vain ambition'. She reflects on the inevitability of death, and that all will die, regardless of one’s status as a 'king or slave'. Ultimately, Sybylla wants to be 'true' to herself, and in striving to do so, she finds contentment. Likewise, Rosalind is satisfied with 'painstakingly' trying to accomplish success by discovering the truth in her work. She is highly diligent, for she wants to discover the truth, and she will not permit herself to make a mistake. In doing so, she '[pays] attention to every detail'. However, as part of this, Watson and Crick are able to take advantage of her, and ultimately achieve success at her expense.

Rather insightfully, Caspar reflects that 'the things we want but can’t have are probably the things that define us'. This reflects the reality for characters across both texts. In particular, Rosalind has a deep 'yearning' for various things throughout Photograph 51 . This is not strictly for success in her research, for she admits that she yearns for friendships, peace, to be able to sleep well at night and for a deeper relationship with Caspar. Rosalind works diligently with her research, admitting that she doesn’t believe in 'laziness'. She regularly stays up all night, which likely contributes to her significant health complications. At the same time, this has an impact on her ability to form meaningful relationships with the people around her. Ultimately, she is not able to attain any of her aspirations, for her life is cut short by her unfortunate death. Likewise, Crick acknowledges that his ambitions in the scientific community have negatively impacted his relationship with his wife. Whilst he may have started out with the desire to 'support [his] family, to do science, to make some small difference in the world', it is clear that he became overwhelmed with his desire for success, and this has cost him dearly.

One of the most significant characters with aspirations in My Brilliant Career is Dick Melvyn. He clearly possesses great ambition at the beginning of the text, which motivates him to move his family from Bruggabrong to Possum Gully. However, this ambition for financial prosperity turns him into a man who is 'a slave of drink', as well as someone who is overall 'careless' and 'bedraggled in his personal appearance'. Indeed, his ambition has taken a challenging toll on him and the life of his family. Unlike Dick Melvyn, who has been harshly impacted by his ambition for success, the M’Swat family seem to be genuinely supportive of their children, and others outside of their family. This is evident in their care for the Melvyn family in their time of financial need. It is evident that a desire for success and 'the possession of money' does not necessarily lead to ruin.

DIVERGENT: Selflessness

The leading characters in My Brilliant Career and Photograph 51 differ in the extent to which they display selflessness as they approach life. Whilst Sybylla’s perception of her circumstances may not be entirely accurate, we can see that she approaches her despairing circumstances with ultimate altruism that leads her to neglect her own desires and focus on how she can be useful in serving the needs of others. At the conclusion of the text, Sybylla sees that she is most suited to 'wait about common public-houses to look after [her] father when he is inebriated'. She seems to be content to submit to her circumstances in order to look after the needs of her family. In contrast, Rosalind seems to be limited in her capacity to discern the needs of others, and the fact that others also require resources to complete their work. This is highlighted when Wilkins complains that 'she’s keeping [him] from [his] work'. Indeed, she seems to hoard 'all the best equipment'. Whilst Wilkins may be exaggerating the extent of the situation, this still highlights Rosalind's uncharitable approach to her work.

At the heart of these differences are the contrasting worldviews of the leading characters, and the way in which they each find meaning in life. Rosalind ultimately views society as opposed to her, and her response to this is to stand her ground tenaciously. She finds meaning in persevering and avoiding mistakes at all costs. In this approach to her world, she is able to justify her occasional cruel treatment of the men around her. On the other hand, Sybylla finds purpose in being able to fulfil a functioning role in the society around her. By the time the novel reaches its conclusion, she has essentially given up fighting for any of her own interests and seems to be content in serving the needs of those around her. This is evident when she rejects Harold for the final time. She notes that Harold is like a ' child pleading for a dangerous toy', and that '[her] refusal was for his good'. In doing so, she demonstrates selflessness, for she genuinely believes that she is acting in Harold’s best interest. The key contrast between Rosalind rejecting the assistance of Wilkins and Sybylla refusing to marry Harold is that Rosalind isolates herself and rejects others because she sees other people as unreliable, and sees that she will 'work best' if she works 'alone', whereas Sybylla rejects Harold for she believes she is acting for his good.

4. Sample Essay Breakdown

As with all our essay topic breakdowns, we'll follow LSG's THINK and EXECUTE strategy , as taught in our How To Write A Killer Text Response study guide. The LSG's THINK and EXECUTE strategy follows three steps in the THINK phase:

A nalyse ‍ B rainstorm ‍ C reate a Plan

Learn more about this technique in this video:

This ‘discuss’ topic prompts us to evaluate the topic in light of My Brilliant Career and Photograph 51 and reach a conclusion. This is also a theme-based topic, relating to perception and self-awareness. Accordingly, it would be wise to ‘discuss’ how key themes CONVERGE and DIVERGE across our texts. With our given theme, we will need to consider what we mean by ‘perception’, how it occurs in both texts, and the conclusions we can draw from this that will feature in our analysis.

In order to address this topic, we need to consider the notion of perception and how this connects with self-awareness. Crucially, the topic prompts us to consider where characters think they have perceived their situation accurately, when in reality they have actually accepted a form of illusion or false perception. We want to broadly consider where this occurs, which will enable us to group characters together later on. We also want to address the reality that something usually occurs to cause a person to realise that they have been perceiving their reality incorrectly.

We will approach this topic with a chronological structure . This means that we are going to broadly consider 1) the behaviour of characters with a false perception of reality, 2) the nature of crises that cause someone to confront their perception of their world, and 3) how characters respond to such crises.

As we think of examples to include in each of our paragraphs, we need to also be considering CONVERGENT and DIVERGENT points of comparison. We can base these around the themes from the Themes, Motifs and Key Ideas section of LSG's Photograph 51 & My Brilliant Career study guide.

Paragraph 1: Living with a false perception of reality

• At this point, we should discuss the CONVERGENT ideas analysed in the Themes, Motifs and Key Ideas section of LSG's Photograph 51 & My Brilliant Career study guide. We should make sure that we focus on Sybylla and Rosalind at the beginning of their respective texts. In particular, we can focus on the naivety of Sybylla and how this connects to her as an unreliable narrator, as well as how Rosalind’s steadfast determination causes her to lose sight of reality.
• On top of this, we also want to draw connections between the themes and the minor characters of the texts. We mustn’t limit our discussion to one that centres solely around Sybylla and Rosalind, so we’ll take a look at Harold’s relationship with Sybylla, as well as Watson and Crick’s publication of false data.

Paragraph 2: Crises that confront a false perception of reality

• Now we want to focus on the ‘middle’ sections of each of our texts. Take note: ‘middle’ doesn’t necessarily have to be exactly halfway through the book. However, it should be around the point where there is a significant turn of events. My Brilliant Career actually has a few of these, but we’ll focus on Sybylla having to travel to Barney’s Gap. In Photograph 51 , we’ll discuss Rosalind’s discovery of her cancer diagnosis.
• As we trace our secondary characters, we’ll look at Harold’s financial troubles, as well as Watson and Crick’s ridicule due to their flawed model.

Paragraph 3: Responding to crises and evaluating a false perception of reality

• As we conclude our essay, we want to discuss the impacts of the crises on our characters. For Sybylla, we’ll talk about how she continues in her naivety. However, the crisis does prompt Sybylla to evaluate some of her values. For Rosalind, she doesn’t really change her ways, however, it does give her more urgency. These are some of the DIVERGENT ideas that will feature in our discussion. We also need to address Watson and Crick, who end up taking an even more cunning approach to their work, which results in them achieving international recognition for their research.

Want to see the the fully written and annotated version of the essay we've just planned here? Check our A Killer Comparative Guide: Photograph 51 & My Brilliant Career. Not only can you find the full version of this essay, there are also 4 other (5 in total) full, A+ essays fully annotated, as well as more themes, analysed quotes, exploration of different interpretations and lenses and more!!

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

INTRODUCTION ‍

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

At least, that’s how I reacted.

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

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

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

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

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

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

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

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

‍ P(L)OT SUMMARY

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

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

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

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

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

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

HISTORICAL CONTEXT

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

The Divine Right of Kings

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

The Great Chain of Being/Class divides

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

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

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

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

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

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

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

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

Jacobean Audience

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

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

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

‍ Playhouses and Brothels

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

WRITING ABOUT 'MEASURE FOR MEASURE'

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

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

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

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

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

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

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

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

...Aaaaand we’re back!

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

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

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

So, why is any one theme an important theme?

Which moments and characters are these themes related to?

Is there a link to historical context?

What are some key quotes?

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

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

Power and Authority

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

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

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

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

Morality and Sin

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

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

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

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

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

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

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

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

Sexual and Gender Politics

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

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

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

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

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

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

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

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

Human Frailty & Fallibility

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

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

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

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

God, Religion and Spirituality

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

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

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

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

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

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

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

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

Mistress Overdone

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

Kate Keepdown (we never actually meet this character)

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

Ragozine (we never actually meet this character)

• dies (legit that’s all he does)

SYMBOLS & MOTIFS

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

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

New Testament vs. Old Testament

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

“‘An Angelo for Claudio, death for death!

Haste still pays haste, and leisure answers leisure.

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

Act 5, Scene 1, Line 439-441

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

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

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

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

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

“I am a kind of burr, I shall stick.”

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

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

Prose/Verse

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

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

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

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

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

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

Names: Escalus and Angelo

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

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

Angelo’s Words/Actions

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

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

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

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

Elbow vs. Pompey

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

Mistress Overdone (or lack thereof)

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

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

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

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24 How do I Write a Response Essay?

Pre-writing steps:

• Read the essay prompt carefully.
• Activate schema

Actively read the assigned article.

Analyze the article to determine the rhetorical situation.

• Consider your own thoughts about the article.
• Decide how you want to respond.

Conference #1

Structure your essay.

• Outline the essay you want to write.

Draft a working thesis.

Drafting the essay:

Write a summary of the article as your introduction.

Write 3 or more body paragraphs in response to the article.

Review your draft so far.

Write the conclusion to summarize your thoughts.

Revising steps:

Peer review

Conference #2

• Revise your essay.
• Proofread your essay.

—————————————–

Read the essay prompt carefully

• Highlight or note the important points
• Ask questions for any part that isn’t clear to you.
• Retrieve your assigned article.

Activate schema.

• Skim and scan the article to identify the topic and the author(s).  Look for subtitles and boldly printed words.  Read the author’s bio which is often located at the beginning or at the end of the article.  Identify the publication.  Read the first sentence of each paragraph.  Ask yourself, “Am I familiar with this topic?” This will help you to activate your schema.
• identify the key points and ideas
• make note of where you agree or disagree
• highlight impactful sentences to quote the author later
• paraphrase the author’s words
• summarize the article
• What is the message?
• What is the context?
• Who is the author?
• What is the author’s purpose?
• What is the structure of the text?
• Who is the audience?

Consider your own thoughts about the author and their message.

• What do I think about this topic?
• Is this author trustworthy?
• Is the article written to inform or persuade me?
• If it is written to persuade, on which points do I agree or disagree?
• Is the author biased?
• Does the article have an objective or subjective tone?
• What did I like or dislike about what the author has written in this article?
• What made the most sense to me? What was confusing about this article?

Decide how to respond.

There are several ways in which to respond to an article.  You may choose a type of response from the following list:

• Before/After- Discuss your thoughts about this topic before you read the article, then explain what you learned from the article using evidence from the text.
• Persuasion- Discuss which parts of the articles you found convincing and/or which parts of the article you did not find convincing.
• Agreement or Disagreement- Discuss an idea that the author presented to which you agree or disagree. If there were two points of view that were presented, explain which one you agree with and explain why.
• Affect- Explain the emotional effect that the article had on you. Explain why you responded that way including your own background and your own thoughts/ experiences.
• Association- Share something from the article that is similar to your own experience.  Or relate the information to a different article that you have read before this article.
• Most students wait until they have a draft, but seriously, this is the best time to talk to a writing tutor about your project.
• HCC has several options for free tutoring. Best choice: after class, drop in at the Composition and Learning Center (CLC) in Duncan Hall 210. This is staffed by current HCC English professors, and you can talk to one for 10-20 minutes about your assignment and your ideas for your topic, and what to include in your essay.
• There are also drop-in tutors at the Learning Assistance Center (LAC) in RCF 340.
• an introduction- a summary paragraph of the article
• a response- 3 or more body paragraphs responding to the author
• a conclusion- a concluding paragraph summing up your thoughts.

Outline the essay your want to write.

• Use the structure of the response essay to determine the order of each paragraph.  Gather your notes. Review the way you chose to respond.   Write a main idea statement for each paragraph of your essay.  Then, list (using bullet points) the details that you want to include under each main idea statement. You can also list relevant quotes from the article that support your ideas.
• A thesis includes your topic and what you are going to say about this topic.
• A thesis always has two parts: a topic AND something important about this topic that your essay is going to discuss.
• A thesis is NEVER a question.
• Use your notes and the rhetorical situation of the article to write a summary.  Begin with an introductory sentence that introduces the publisher, author, topic, purpose, and the main idea of the article.
• Next, write a few sentences to describe the key points the author made to support the main idea.
• End your summary with your thesis.
• During your pre-writing, you decided how you might want to respond to the article.  Use your outline to draft your body paragraphs.  Use your synthesis skills to corporate relevant quotes from the article into paragraphs to support your ideas.
• Is your summary of the article concise, objective, and accurate?
• Do your body paragraphs respond to the article?
• Do you have a main idea for each of the body paragraphs?
• Do the sentences in each paragraph support each main idea?
• This question is extremely important.  If you find that you did not respond to the article in the way you had originally planned, revise your thesis.
• End your essay by summarizing the main points you shared in your body paragraphs.
• A classmate; a friend; a relative: ask someone to read over your work. Note their questions as they read.
• At the very least, read your essay aloud to yourself, stopping when you get tripped up in words or sentences. Consider how to make these rough spots easier to read.
• Schedule a conference with your instructor, or drop in on their student/office hours, or send them a Zoom request to talk about any questions you have about your draft.
• You can also drop in at the CLC in DH210 or LAC in RCF 340 to have a conference with a tutor.

Revise your essay

• Look at your outline: have you forgotten anything?
• Do a paragraph outline of just main idea sentences for each paragraph: you’ll have a 5-7 sentence summary of your whole essay.

Proofread your essay

• take on an objective tone?
•  introduce the article properly?
• capture the main point of the article?
• respond to the article?
• capture your thoughts and opinions?
• begin with a main idea statement followed by detail?
• include quotes from the article?
• concisely review your thoughts about the article?
• Major grammar errors include run-on sentences, comma splices, and sentence fragments.
• You are responsible for running Grammarly or another grammar/spellcheck before your essay is submitted.
• Your instructors want to focus on improving your WRITING—not technical errors that machines can catch easily.
• Use Modern Language Association (MLA) guidelines for formatting your academic essay and for any in-text citations or a Works Cited page.

College Reading & Writing: A Handbook for ENGL- 090/095 Students Copyright © by Yvonne Kane; Krista O'Brien; and Angela Wood. All Rights Reserved.

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How to Write a Response Paper: Understanding the Basics

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

Defining What is a Response Paper

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

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

Purpose of Crafting a Response Paper

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

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

Types of Response Papers

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

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

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How to Write a Response Paper: Pre-Writing Steps

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

Carefully Read and Analyze the Text

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

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

Take Notes and Highlight Key Points

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

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

Develop a Thesis Statement

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

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

Create an Outline

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

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

Actual Writing Process with a Response Paper Format

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

Engage the Reader In Your Introduction

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

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

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

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

Provide Context and Background Information

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

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

Present Your Thesis Statement

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

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

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

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

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

Crafting the Body

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

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

Concluding Your Paper

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

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

Response Paper Example

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

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

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

Take the Stress Out of Writing Response Essays!

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Daniel Parker

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

is an expert in nursing and healthcare, with a strong background in history, law, and literature. Holding advanced degrees in nursing and public health, his analytical approach and comprehensive knowledge help students navigate complex topics. On EssayPro blog, Adam provides insightful articles on everything from historical analysis to the intricacies of healthcare policies. In his downtime, he enjoys historical documentaries and volunteering at local clinics.

How to Write a Response Paper

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

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

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

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

Read and Respond

Grace Fleming

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

The steps for completing a reaction or response paper are:

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

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

The First Paragraph

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

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

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

Stating Your Opinion

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

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

Sample Statements

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

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

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

• Examples of Great Introductory Paragraphs
• 50 Argumentative Essay Topics
• How To Write an Essay
• How to Write a Solid Thesis Statement
• Writing an Opinion Essay
• What Is a Critique in Composition?
• 6 Steps to Writing the Perfect Personal Essay
• 5 Steps to Writing a Position Paper
• How to Write a Persuasive Essay
• How to Write a Great Process Essay
• How to Write a Good Thesis Statement
• 10 Steps to Writing a Successful Book Report
• Tips on How to Write an Argumentative Essay
• How to Write a News Article That's Effective
• How to Write a Narrative Essay or Speech
• What an Essay Is and How to Write One

Essay Papers Writing Online

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

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

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

Key Elements of a Response Essay

A response essay typically includes the following key elements:

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

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

Understanding the Assignment

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

Pay attention to key elements such as:

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

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

Analyzing the Prompt

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

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

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

Developing a Thesis Statement

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

When developing your thesis statement, consider the following tips:

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

Structuring Your Response

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

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

Main Body Paragraphs

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

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

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

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How to Write a Personal Response Essay

How to Write a 200 Word Biography

Personal opinion writing is something that you’ve been doing since you started writing in elementary school. Who knows your opinion better than you? You may think writing a personal response essay will be pretty easy, but in reality, writing a personal response paper requires a great deal of critical thinking and introspection.

What Is a Personal Response Essay?

A personal response essay is a type of essay that asks students to think critically about a piece of writing (or sometimes another form of media like a movie, television show or article) and respond based on a critical analysis of the writing’s content in comparison to their own beliefs and personal experiences. A personal response essay is not a blow-off, fluff assignment. On the contrary, it asks students to dig deep and justify their personal beliefs and feelings in terms of concrete description, logic, philosophy and reasoning.

An excellent personal essay won't only make clear the writer’s personal beliefs, it will also justify their feelings about a piece of writing or other media by using analysis of direct quotations and examples from the response text. Because personal response essays require so much critical thinking and analysis, a well-prepared student will come at the essay as they would any research paper. Preparation, close reading, outlining and revision are all key steps to writing a well-rounded response.

Do a Pre-Reading Brainstorm

Even before you begin reading, you can start thinking critically about the text. Take out a piece of paper and jot down your preconceived notions before you get started. For example, you may have heard of the text before. It could be a short story that was made into movie or maybe your best friend read it last semester and told you all about it. If you’re feeling particularly organized, you can use the type of notes called KWL. These letters stand for what you K now, what you W ant to know and what you will L earn after you read the text. If you’ve already heard about the text before you started to read it, make a list of things you already think you know. You might not be right on every idea, but the beauty of KWL notes is that you don’t have to go back and erase what you got wrong just to make room for new ideas. Being able to compare your preconceived notions with what you’ve learned will help you form a more thorough response in your paper.

If you haven’t heard of the text before, do a pre-reading exercise. Start with the title and write about what you think it means. Some essays have strange titles, like David Foster Wallace’s “Consider the Lobster.” If your professor assigned something with an interesting title like that, you’ll have plenty to write about. If the title is more staid, you can still use it to make predictions. Ask yourself, just by reading the title, what do I think this text will be about?

After interrogating the title, glance over the rest of the story. Is there anything about the text that stands out to you, such as italics, bold words or subheadings? Consider them like you did the title. What do you think the story will include based on these characteristics of the text?

Read the Response Text

Now that you’ve finished brainstorming, read the text carefully. Don’t worry about annotation or taking notes just yet. Focus on reading for comprehension. But if you see something you don’t want to forget, like a paragraph that gives you a strong feeling or a particularly witty turn of phrase, underline it and make a note in the margin. You can circle back to these notes while you're doing a complete annotation.

Even though you’re going to read this text again, it's important to write down your first impressions. Your thoughts may change after careful analysis, but that doesn’t mean your initial ideas aren't valid. Indeed, one effective way to write a personal response essay is to delineate the changes in your thoughts about a single subject over time. For example, if you know you're going to read an essay about refugees and your initial idea was that your country shouldn't be as lenient on immigration even for those seeking asylum, the first read of the response text might not change your mind. After a close reading, you might better understand the subject matter and implications, and so, if the text then changed your mind, that would make for a significant personal response. In other words, make sure that you write down your opinions at every stage of the reading, planning and writing process. Your thoughts are the main focus of a personal response essay, so be very careful that you record them all.

Reread and Annotate the Response Text

After you record your initial reaction, reread the text. Use highlighters to select parts of the text that you'd like to go back to or quote. Write your analysis in pen in the margins. Unlike with many English papers, your analysis won't focus on literary devices like symbolism unless those devices affect you profoundly or cause you to think. Since the focus is on your thoughts, you could home in on rhetoric, especially if particular rhetorical devices in the text are effective at changing your mind. For example, if you're reading an essay written by a refugee, you might find their first-person description of fleeing their country quite moving. Or, perhaps you'll be more swayed by their use of statistics and logic. Remember that the essay depends on what you think and feel. Find portions of the text that back up those thoughts and feelings.

Make an Outline

Effective annotation will make constructing your outline easier. Look back over your annotated text and select the portions that you'd like to include in your essay. Organize these thoughts into list-like notations that you'll later expand into paragraphs. Arrange them in sections that include their main idea, your thoughts on that idea and the evidence from the text that you’re commenting on. Look back at your pre-writes and your first impressions. Incorporate these ideas into the logical flow of your thoughts.

When you’re writing the actual paper, your life will be much easier if you write down the quotations verbatim in your outline. Put quotation marks around them and make note of the citation. That way, when you’re writing, you only need to look back at your outline and you won’t waste time continually going back to the text.

Remember to construct an outline that corresponds with the desired length of your paper. If you've been assigned a simple five-paragraph essay, create an outline with the introduction, three body paragraphs and a conclusion. This form, however, won't be helpful if you have to write a longer paper. In that case, organize your ideas into subheadings and expand those into paragraphs. In the planning stage, it's better to have more ideas than fewer. Plan more than you think you'll need. If you reach the required length while you’re writing and still have more ideas, determine if your paper will make sense without them. There's no need to overwrite if you've already expressed your ideas efficiently.

Write Your Response

If you’ve already done a thorough job outlining your paper, the step of actually writing it will be one of the least arduous parts of the whole process. Go through your outline and expand on your thoughts. The most challenging part of this will be linking your thoughts in a logical flow. A lot of writers struggle with this part. The key is to understand each paragraph as a separate idea. Which smaller idea could act as a stepping stone and bridge the gap between them? Compose a sentence or two about these ideas and include them at the end and beginning of the paragraphs to act as linking sentences.

While you’re writing, make sure you're answering your writing prompt. You may have been given instructions that asked for certain details other than just your opinions and beliefs based on the text. Make sure you include everything that your teacher has asked for.

Try to write well using the active voice and descriptive language as needed. Spelling, punctuation and grammar are also vital parts to pay attention to, but if you get nervous while you’re forming your first draft, don’t let shooting for perfection make you nervous. It’s better to get the first draft out and have it be full of mistakes than to write nothing. Do your best when writing this first draft. If you make mistakes, you can fix them later.

Editing and Revision

Even most brilliant writers need editors. You do, too. Don’t fall into the easy trap of submitting your first draft to your teacher. Instead, there are a few additional steps you need to take before you're done.

First, read your essay over. Does the logic flow? Do all of your ideas have complete elaboration? Put yourself in someone else’s shoes. Does what you've written make sense to someone who isn’t you? Using this kind of interrogation technique, fill in missing pieces of logic and elaboration in your essay. Don’t start proofreading before you do this. If you're adding a lot more content, you'll have to start the proofreading process over or else risk missing things.

After you've made all the additions you think you need, it's now time to proofread. If you know you struggle with a certain type of grammar, using commas for instance, pay extra attention to those details.

Once your essay is as complete as you can make it, ask a peer, parent or teacher to read it over and tell you how you might improve it. Make sure you choose someone who will give you a thoughtful critique, not someone who will tell you your essay is perfect. If you have time, ask more than one person to read and comment on your essay. The more differing opinions you can get on your writing, the more you'll be able to improve it.

Using the comments they've made, revise your paper. This could mean adding and elaborating. This could also mean polishing your grammar and syntax. Remember, you don’t have to change your work to suit everyone’s opinions. That's why it's important to get more than one person to read your essay. You're allowed to disagree.

Finally, before submitting your paper, make sure that it's formatted as required by your teacher. For longer papers, this means using a cover page. Most formatting requires that your name and the page number be on every page. Be sure to follow the guidelines, and if you need to, look on the internet for examples. This is a simple thing to lose points for, so be careful. If you’re still struggling, ask your teacher for a personal response example.

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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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How to write a response essay., carla johnson.

• June 13, 2023
• How to Guides

A response essay is an important part of academic writing because they give students a chance to think about the ideas and arguments in a text and give their own thoughts and opinions on the subject. Response essays are different from other types of essays because students not only have to summarize the text, but also analyze and evaluate it in a critical way.

These essays are important because they help students learn how to think critically, improve their writing skills, and deal with complicated ideas and arguments. In this article, we’ll talk about how to write response essays and give students tips, examples, and ideas for topics to help them learn this important skill.

In this article, readers will learn what response essays are, how to write a good response essay, and what kinds of topics are good for this type of assignment. By the end of this article, readers will know exactly what it takes to write a good response essay and have the tools and knowledge they need to confidently take on this type of assignment.

What You'll Learn

What is a Response Essay?

In a response essay, the writer talks about how they feel about a certain text, article, or book. The goal of a response essay is to analyze the text critically and share the writer’s thoughts and opinions about the topic.

Response essays are different from argumentative and expository essays in that the writer must give their own opinion on the topic. Even though a summary of the text is often part of a response essay, it is not the main point.

An introduction, body paragraphs, and a conclusion are the most important parts of a response essay. The introduction should give background information about the text and include a thesis statement that shows the writer’s opinion about the text. The writer’s argument should be backed up by evidence and examples from the text in the body paragraphs. The conclusion should restate the essay’s main points and give a final opinion on the text.

Elements of a Response Essay

To write an effective response essay, it is important to include several key elements in the essay . These include:

Introduction: The introduction should provide background information on the text, including the author, title, and publication date. It should also include a thesis statement that expresses the writer’s opinion about the text.

Body Paragraphs: The writer’s argument should be backed up by evidence and examples from the text in the body paragraphs. It’s important to think critically about the text and give specific examples to back up the writer’s ideas and opinions. Each paragraph in the body should be about a different part of the text, and the writer should use transitions to link the paragraphs and keep the flow of ideas smooth.

Conclusion: The conclusion should summarize the main points of the essay and provide a final opinion on the text. It should not introduce any new ideas or information, but rather provide closure for the reader and reinforce the writer’s thesis statement .

Thesis Statement: The thesis statement is a critical component of a response essay, as it expresses the writer’s opinion on the text. The thesis statement should be clear, concise, and focused on the main argument of the essay. It should provide a roadmap for the reader and guide the writer’s analysis and evaluation of the text.

Evidence and Examples: In a response essay, the writer’s argument needs to be backed up by evidence and examples from the text. The writer should back up their ideas and thoughts with specific examples and quotes from the text. It is important to think carefully about the evidence and explain how it backs up the writer’s argument .

Writing a response essay means carefully analyzing and judging a piece of writing, as well as being able to say what you think and feel about it. By including the key points talked about in this article, writers can effectively communicate their ideas and make sense of complicated texts.

Don’t forget to use clear, concise language, give specific examples and proof, and stick to the main point of your essay . With these tips, writers can learn how to write response essays and effectively respond to academic texts in their writing.

How to Write a Response Essay

Writing a response essay can be a challenging task, but it can also be a rewarding one. Here is a step-by-step guide to writing a response essay:

Before you start writing your response essay, it is important to read the text carefully and take notes on important ideas and concepts . Consider the main argument of the text and evaluate the evidence and examples used to support it. Think about your own experiences and opinions on the subject matter and how they relate to the text.

Once you’re done with your planning, you can start writing your response essay. Start with an introduction that tells what the text is about and includes a clear thesis statement that shows what you think about it. Use body paragraphs to analyze and evaluate the text critically , using evidence and examples from the text to support your arguments. Use transitions between paragraphs to make sure the ideas flow smoothly. Finish with a summary of your main points and your final thoughts on the text.

After you finish the first draft of your essay, you should go back and fix any mistakes. Read your essay carefully , making sure there are no spelling or grammar mistakes and that it makes sense. Think about how your essay is put together and make any changes you need to make sure your argument is clear and well-supported. It’s important to follow a clear and logical format when setting up and organizing your response essay. Start with an introduction that gives background information about the text and a thesis statement that is clear and focused. Use the body paragraphs to back up your thesis statement with evidence and examples from the text, and make sure to use clear, concise language. Use transitions to link your paragraphs and keep your ideas moving smoothly. Finish with a summary of your main points and your final thoughts on the text. When writing a response essay, common mistakes to avoid include summarizing the text instead of analyzing and evaluating it, not giving specific examples and evidence to back up your arguments, and not revising and editing your essay carefully .

Response Essay Examples

Here are 10 fascinating response essay examples from different academic fields:

1. The Impact of Social Media on Teenagers” by Jane Smith

2. “The Role of Art in Society” by John Doe

3. “The Ethics of Genetic Engineering” by Sarah Johnson

4. The Importance of Education in Developing Countries” by Michael Brown

5. The Significance of the Civil Rights Movement” by Angela Davis

6. “The Future of Renewable Energy” by David Lee

7. The Effects of Climate Change on Marine Life” by Rachel Wilson

8. The Impact of Technology on Human Relationships” by Emily Jones

9. “The Role of Women in Politics” by Susan Lee

10. The Importance of Cultural Diversity in the Workplace” by Maria Hernandez

Each of these response essay examples provides a clear and focused thesis statement that expresses the writer’s opinion on the subject matter. The body paragraphs use specific examples and evidence from the text to support the arguments, and the conclusion summarizes the main points of the essay and provides a final opinion on the subject.

For example, in “The Ethics of Genetic Engineering” by Sarah Johnson, the thesis statement is clear and focused: “Genetic engineering poses ethical dilemmas that must be carefully considered before any scientific advances are made.” The body paragraphs provide specific examples and evidence to support this argument, such as the potential for genetic discrimination and the unknown long-term effects of genetic engineering. The conclusion summarizes the main points of the essay and provides a final opinion on the subject, emphasizing the need for caution and ethical considerations in genetic engineering.

Readers can use these examples to learn how to write effective response essays in their own academic fields. They can also analyze the key features of each example, such as the use of specific examples and evidence to support the argument, and use these techniques in their own writing. By learning from these examples, readers can become skilled response essay writers and effectively engage with complex texts in their academic writing.

Response Essay Topics

Here are 50 response essay topics that are sure to impress your professors:

1. The Impact of Social Media on Mental Health

2. The Ethics of Animal Testing

3. The Role of Government in Healthcare

4. The Effects of Climate Change on Agriculture

5. The Importance of Diversity in the Workplace

6. The Role of Art in Society

7. The Impact of Technology on Education

8. The Ethics of Cloning

9. The Significance of the Civil Rights Movement

10. The Future of Renewable Energy

11. The Effects of Immigration on the Economy

12. The Role of Women in Politics

13. The Impact of Video Games on Youth

14. The Ethics of Capital Punishment

15. The Importance of Voting Rights

16. The Effects of Globalization on Culture

17. The Role of Religion in Society

18. The Impact of Technology on Human Relationships

19. The Ethics of Stem Cell Research

20. The Significance of the Women’s Suffrage Movement

21. The Future of Space Exploration

22. The Effects of Social Media on Politics

23. The Role of Education in Reducing Poverty

24. The Importance of Mental Health Awareness

25. The Impact of Artificial Intelligence on the Job Market

26. The Ethics of Euthanasia

27. The Significance of the American Revolution

28. The Future of Self-Driving Cars

29. The Effects of Income Inequality on Society

30. The Role of Media in Shaping Public Opinion

31. The Impact of COVID-19 on Education

32. The Ethics of Gene Editing

33. The Importance of Free Speech in Democracy

34. The Effects of Technology on Privacy

35. The Role of Sports in Society

36. The Impact of Climate Change on Public Health

37. The Ethics of Cybersecurity

38. The Significance of the Industrial Revolution

39. The Future of Artificial Intelligence in Healthcare

40. The Effects of Social Media on Body Image

41. The Role of Animal Rights in Society

42. The Importance of Cultural Diversity in the Workplace

43. The Impact of Technology on Mental Health

44. The Ethics of Abortion

45. The Significance of the Women’s Rights Movement

46. The Future of Green Energy

47. The Effects of Immigration on Cultural Identity

48. The Role of Music in Society

49. The Impact of Technology on Privacy

50. The Ethics of Human Cloning

Each of these topics is interesting and important, providing ample opportunity for critical analysis and evaluation. They cover a broad range of subjects, including social issues, technology, ethics, history, and the environment . By choosing one of these topics for your response essay, you can demonstrate your knowledge and expertise in the subject matter and engage with complex ideas and arguments.

Frequently Asked Questions

1. what is the difference between a response essay and a summary.

A response essay requires critical analysis and evaluation of a text, while a summary simply provides a brief overview of the text. In a response essay, the writer provides their own opinions and thoughts on the text, while in a summary, the writer remains objective and simply summarizes the main points of the text.

2. What is the appropriate tone for a response essay?

The tone for a response essay should be professional and objective, while also expressing the writer’s personal opinions and thoughts. It is important to remain respectful and avoid using emotional language, while also conveying a sense of passion and engagement in the subject matter.

3. What are some tips for writing a strong conclusion for a response essay?

A strong conclusion for a response essay should summarize the main points of the essay and provide a final opinion on the text. It should also provide closure for the reader and reinforce the writer’s thesis statement. To write a strong conclusion, it is important to avoid introducing any new ideas or information and to end on a strong and memorable note.

Response Essay Outline and Structure

A clear and logical structure is essential for writing an effective response essay. Here is a sample response essay outline:

I. Introduction

A. Background information on the text

B. Thesis statement

II. Body Paragraph 1

A. Topic sentence

B. Evidence and examples from the text

C. Analysis and evaluation of evidence

III. Body Paragraph 2

IV. Body Paragraph 3

V. Conclusion

A. Summary of main points

B. Final opinion on the text

This outline can be customized for different topics and purposes by adjusting the number of body paragraphs and the amount of evidence and analysis required for each paragraph. For example, a more complex topic may require additional body paragraphs with more evidence and analysis, while a simpler topic may only require two or three body paragraphs.

Transitions are also important for maintaining a clear and logical structure in a response essay. Transitions help to connect the paragraphs and ensure a smooth flow of ideas. Some effective transition words and phrases to use in a response essay include “furthermore,” “in addition,” “however,” “on the other hand,” and “finally.”

In conclusion, response essays are an important part of academic writing that require critical analysis and evaluation of a particular text. To write an effective response essay, it is important to include key components such as an introduction, body paragraphs, and a conclusion. It is also important to use a clear and logical structure, including transitions between paragraphs, to ensure that the essay is easy to read and understand.

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Everything You Need to Know About Writing a VCE Text Response

The thought of the end of year VCE English examination might seem daunting with it not only being the first exam you take, but also three hours of writing each VCE text response! 

We’ve broken down the three different styles of text response in the VCE English examination paper — Sections A, B and C.

For each section, we’ve provided you with some tips and kick-starting your preparation for what is to come.

Let’s dive in!

What is a VCE Text Response? Section A – Your Analytical Interpretation of a Text Section B – A Comparative Analysis of Texts Section C – Argument and Persuasive Language

What is a VCE Text Response?

A VCE text response is the act of writing a piece in which engages with the appropriate material from the VCE English study design .

Depending on the style of the response, you will engage with different thematic properties and analysis of each text.

You will practise these skills throughout the year and identify both your strengths and areas that need more attention with each essay you write.

It is helpful to look towards the end of year exam no matter where you reside within the school year as a clear understanding of the exam structure and what is being asked of you will help to mitigate any surprises.

If you need support writing a VCE text response, our incredible team of Melbourne tutors can help you out!

Section A – Your Analytical Interpretation of a Text

The first text response within your VCE English examination will require you to pick a text in which you have studied thoroughly in Unit 3 and write your own analytical interpretation of the text.

The exam will provide two essay questions for each text and you will choose one to respond to.

How To Structure Your VCE Text Response For Section A

Introduction.

Your introduction will outline the rest of your analytical interpretation.

It should be clear and precise , s etting you up for a cohesive essay to follow.

The first sentence should introduce the author , text and date of the analytical text in a broad affirmation of your contention.

The rest of your introduction should provide a sentence in which you signpost the following body paragraphs you are going to write, illustrating the significance of each paragraph.

You will conclude your introduction with a sentence confirming your stance within the analytical interpretation.

Your introduction should be simple, it is there to provide the examiner with an overview of what you will write about and how your thesis statement will be validated through your analysis. The more concise, the better.

Studying for your End of Year VCE English exams? Check out our tips to acing them here !

Body Paragraphs

Depending on what you have practised throughout the year, you will focus on three or four different body paragraphs within Section A.

You will incorporate an analysis of the author’s intent and y our own take on the text , utilising quotes , paraphrasing , themes and motifs from the text.

Analytical interpretation entails the implementation of evidence in order to substantiate your argument. There are various structures in which can help to best argue your contention.

For example, the ‘ Yes, No, However’ approach , although the choice of structure is not fixed. We suggest you t alk through structural options with your teacher if you’re unclear with your current approach.

In terms of paragraph structure itself, the TEEL strategy is helpful in explaining the task of the analytical interpretation.

Topic Sentence: The topic sentence will provide a broad overview of the main idea explored throughout the analysis of each paragraph. A concise topic sense is vital to the overall momentum and validity of your text response, it should consist of the essay topic itself in addition to your own overruling idea.

Explain/elaborate: After the topic sentence you will provide a closer explanation of the paragraph’s focus. Through utilising the TEEL strategy, the structure will assist in limiting quantity over quality. Within the explanation you may draw on themes, motifs and techniques utilised by the author. The explanation will work to validate your overall stance and reflect your thorough understanding of the text.

Evidence/examples: You will provide textual evidence in order to support your explanation and ideas. In order to support the quote itself, you will provide the page number it is quoted from. It is important to minimise summary when providing evidence, it can be beneficial to implement quotes in which are between one and six words when writing practice text responses. The textual evidence provided should illuminate your own contention, not distract from the explanation you have written.

Linking sentence: The linking sentence is essential to the overall flow of your text response, in a summation of the paragraph you are concluding, the final sentence can be a useful tool in alluding to the next idea you will discuss. From here, you will repeat the TEEL structure throughout the paragraphs to follow.

Conclusion: Your conclusion will bring the analysis together in recognising what you have written about and reminding the examiner how your essay has progressed. You should not introduce any new information within the conclusion, its role is to reaffirm the significance of your analysis. Your conclusion should not mimic your introduction, it should be a fresh summary of your text response.

Tip #1 : Don’t Rush Your Planning

The exam might seem overwhelming at a first glance as there are questions on twenty different texts in the question booklet.

Take time to find the one you have prepared for and identify the options presented to you during the reading time.

If it becomes difficult to choose an essay question, take your time and think about your favourite themes and motifs to write about, then re-approach the two proposed essay questions on your second read through of the exam.

Once you have picked a topic, you will begin to visualise relevant quotes and formulate a structure for your analytical interpretation text response in your head.

Tip #2: Practise Writing Essay Plans

You have fifteen minutes of reading time to visualise quotes and patterns. 

To make the most of your time, you need to have t he ability to formulate a plan for your text response within a matter of minutes .

Throughout the year , an important skill you must learn is completing rough planning exercises within the reading time for each essay.

Time management is a large aspect of the VCE English exam. In other words, it’s in your favour to complete several plans when you study for your VCE text responses.

Tip #3: Set a 10 Minute Timer for Writing Practice Introductions

When preparing for the exam, it can be helpful to acquire a list of practice questions and set a timer for 10 minutes , attempting to write an introduction to the topic. Continue this until you see fit.

The exercise will allow you to regulate your time management , formulate various conclusions in the establishment of a wider scope of understanding recurring themes and allow you to become confident in beginning your essays.

Even if you do a couple, this exercise is quick and can be very helpful if you complete it every now and then!

Looking for practice essay questions? Use our VCE English Past Papers Master List here !

Tip #4: Discuss With Your Friends

Understanding themes is an integral part to your interpretative analysis, it is the foundation in which you underlay your own utilisation of the text in the substantiation of your contention. Talk about themes with your friends !

Flesh out the ideas on a white board at lunch or on the weekend in the backyard.

The various themes should be more than familiar to you by the time of the examination and through becoming acquainted with the themes, you will discover which ones you like writing about .

Section B – A Comparative Analysis of Texts

Hour two, let’s do it!

The second text response within your VCE English examination will require you to construct an analysis based on a pair of texts you have studied. Therefore you will write a text response in which incorporates two different texts.

The first text will provide the basis of your analysis whilst the second text will embellish and assist the first in informing the contention.

You will choose a topic from the exam booklet, applying ideas and evidence from a pair of texts in order to best support your comparative analysis.

How To Structure Your VCE Text Response for Section B

Your introduction will establish both texts in order to provide the reader with an understanding of the material that informs the basis of your analysis.

It can be helpful to introduce both texts with either a point of similarity or difference in order to establish a clear contention from the beginning.

Moreover, you will signpost each argumen t and conclude the introduction with a thesis statement before diving in the first body paragraph. 

Throughout your body paragraphs, you will establish meaningful interactions between Text A and Text B through the analysis of points of similarity, difference or a combination of both within each text.

You can maximise your analysis of the topic itself through a concise structure and plan whereby you allocate when and where you will integrate each text.  For example:

Paragraph One: Focus on Text A and incorporate Text B towards the end. Paragraph Two: Focus on Text B and reinforce Text A towards the end. Paragraph Three: Equal Weight in the analysis of Text A and B, drawing on both to communicate your argument.

Note : When writing the body of the comparative text response, it is important to not lose sight of the topic in which you are responding to as the thoughtful incorporation of two different texts is a complex skill to master. 

There is no formal way to structure the Section B text response although using the ‘Yes, No, However’ approach can be helpful in getting your head around the analysis.

The majority of the task itself can sometimes be establishing a structure for your piece in which best serves your arguments whilst providing scope for both Text A and B.

So, discussing the structure with your teacher and fellow peers is a good idea if you are unclear on the task itself.

Have an VCE English oral assessment coming up? Learn how to smash your presentation here !

The conclusion of your comparative piece should reinforce the overarching contention of your text response whilst drawing light on a couple of arguments made within the analysis.

It is important to not overcomplicate the conclusion. The conclusion should be a reminder to the examiner of how well your analysis of both texts has answered the topic and argued a stance on it.

Tip : Creating a quote bank and theme spreadsheet for the pair of texts you will be focusing on for the exam can be helpful in preparation for Section B. By separating the comparative or contrasting themes between each text, it can help to organise your thoughts and have a solid foundation to refer back to when workshopping ideas and paragraphs. From here, you will be able to recognise your favourite quotes and what works for you when exploring the pair of texts within your text response.

Section C – Argument and Persuasive Language

We’ve made it, hour three of your English exam!

The third and final text response within your VCE English examination will focus on your analysis of an article provided to you by the exam booklet, in your own interpretation of written, visual and physical persuasive techniques . 

Throughout the text response, you will need to present an understanding of the arguments expressed, how the arguments present a point of view and how the visual and written language serves to reinforce the persuasive effect of the piece.

Using the reading time is pertinent for Section C!  

You could be faced with a number of stimulus options including a newsletter , blog or opinion piece , it’s important to take the time to assess the excerpt in order to complete the text response adequately.

Tip : Scribble all over the piece once reading time finishes, underline aspects in which stick out and utilise the visual if you are provided with one! Think about colour, size and where the image is situated within the article; attention to detail is a blessing in your argument and persuasive language text analysis. 

How To Structure Your Response For Section C

The introduction in Section C should outline the author , publication , title of the article and most importantly , the identified contention of the piece.

Signpost the target audience , subject matter , the identified arguments you will focus on, how the arguments are communicated and conclude with the thesis statement for the argument analysis. 

Check out our deep dive into acing your VCE Argument Analysis here !

You may structure body paragraphs in terms of the arguments you have identified within the piece.

By highlighting how the author implements specific techniques, you will put the best foot forward in terms of thorough and insightful analysis and not summary.

In order to complement your analysis and the evidence such as quotes or description of the visual stimulus, the identification of literary techniques can be wonderful in enhancing your response. 

Close analysis of the author’s spin on the subject matter including the incorporation of finite details such as how alliteration for example may influence the opinion of the reader or affect the flow of the piece is gold !

Tip : Practise highlighting ten different persuasive techniques when interpreting practice media sources. Training your eye for obscure and valuable pieces of detail is an amazing skill to have in the final section of your VCE English examination. Adding a flair of individualism to your essay will catch the marker’s eye. Practice having a fresh take on the piece. The more comfortable you are with finding your way around a potential stimulus source, the more comfortable you will be on the big day!

Remember your job for VCE Section C text response is to explain how language and visuals communicate a point of view.

You can prepare for your Section C response with daily activities such as reading the newspaper !

It is best to establish how you will structure Section C in addition to familiarising yourself with the literary techniques and persuasive techniques you can use to substantiate your analysis as the subject matter and form of the stimulus itself is uncertain until you are in the exam itself. 

The Section C conclusion should provide a summation of how the stimulus has intended to influence the audience .

Drawing attention to the persuasive techniques you have analysed, your conclusion should be simple and clear .

Tying up the significance of your analysis, r evisit the contention whilst being mindful of using different vocabulary and therefore showcasing your understanding of the arguments and overarching contention presented.

And, that’s all!

Breathe! Once you’ve applied all our tips, you’ll be several steps closer to write amazing text responses. 

Check out more VCE resources here:

Everything You Need to Know from the VCE English Language Study Design

• How VCE Subject Scaling Works and How It Can Impact Your ATAR
• What You Should Consider When Selecting Your VCE Subjects
• How to Analyse All the Light We Cannot See for HSC and VCE English
• The Ultimate Guide to the VCE English Framework of Ideas

Are you looking for some extra help with preparing for your VCE English Text Responses?

We have an incredible team of VCE tutors and mentors!

We can help you master your VCE English text responses and ace your VCE English assessments with personalised lessons conducted one-on-one in your home or online!

Don’t wait until last minute to prepare for your VCE English Text Response! Get booked in today with one of our expert Glen Waverley VCE tutors !

We’ve supported over 8,000 students over the last 11 years, and on average our students score mark improvements of over 20%!

To find out more and get started with an inspirational VCE tutor and mentor,  get in touch today  or give us a ring on 1300 267 888!

Evie Warnes is a Content Writer for Art of Smart and a current undergraduate student, completing her final year at the University of Melbourne. She studies a Bachelor of Arts majoring in Criminology and minoring in Indigenous Studies. In her free time she loves to walk, create videos and hang out with friends. After graduating, Evie hopes to do a Post-Grad in Film and Television and travel overseas.

• Topics: ✏️ English , ✍️ Learn

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Top Tips to Help You Conquer Your Text Response Essays

Monday 25th, September 2023

Throughout your studies of VCE English, you will be writing a lot of text response essays, in response to a set text. The essay is based off a certain prompt, and the most important themes, characters and events are discussed throughout it.

Text response essays are the ones that you will be writing the most often, as you are required to write one in all semesters from Year 10 up. Therefore, it is important that you practise these types of essays often, to ensure you are fully prepared come your final exams.

This article will take you through some things you should keep in mind when writing your own text response essays.

  1. Understand the Structure

Before you write a text response essay, you need to understand the required structure – it is one of the criteria that you will be marked on!

Every essay should have an introduction, 3-4 body paragraphs and a conclusion. However, there are certain things that you need to have in each of these parts. For example, you may have been taught the TEEL structure for body paragraphs and been told that an introduction needs to have a contention and signposting.

Knowing the structural requirements will ensure that you don’t forget to write any vital information in your essay.

  You can find detailed information about the structure of a text response essay in this video: 

2. Comment on the Author’s Intentions

Everything that an author does in their text is intentional (well, not always, but you should think it as so.) Therefore, when you make a claim or notice a significance structural device, you should follow it up with what the author is trying to say about it. Generally, you should aim to mention the author’s name at least 1-2 times in each body paragraph.

The following are some questions that may help you think about the author’s intentions.

•     What views do the author believe in?
•     What is the author trying to say about the real world? (The answer to this question should be in your conclusion).
•     How has the use of a certain structural device added to the authors purpose?
•     Why have they characterised a certain character in the way that they have?
•     What is the purpose of a character/plot?

  Don’t worry – it’s true that you can never be certain about what an author intended. Your teacher just wants to know your interpretations!

  3. Consider the Context

The context is the setting, environment, or period in which a text takes place. The context is going to influence the themes and behaviours of characters immensely, so you shouldn’t omit it in your discussions. Usually, your teachers will explain the context of the text before you even begin reading it so you don’t get completely lost.

The context can include any social, cultural, and historical values. Most of the texts you study would have been written (or set) many years ago – views and values change a lot over time, so something that would have been appropriate back then may seem out of place in current living times.

For example, the play 12 Angry Men was   set in the 1950s   - which was a time of post-war migration and racial segregation in the US. This strongly impacted the way certain Jurors treated the defendant. If the play was set in the 2000s, their discussions would have looked a lot different.  

Considering the context will also help you when discussing author’s intent – what real-world issues have influenced the author to write the text?

4. Have a Clear Contention

In your text response essays, the contention is what your personal stance on the given prompt is. Do you agree or disagree with what the prompt says? Perhaps you’re on the fence? Your contention needs to be very clear, so your marker knows the side you will be taking throughout your essay.  

An easy way to come up with the contention is to rephrase the prompt to fit your opinion. However, this may not always lead to a contention with enough depth.

5. Don’t Summarise, Analyse

One of the most common errors that students make when writing a text response essay is summarising parts of the text. Your teacher knows what happens – they want to know what YOU think of it.

6. Have Counterarguments

When responding to a prompt, you should aim to discuss multiple perspectives. As you construct your contention, using words such as ‘however,’ and ‘whilst,’ can help introduce an alternate view. This shows your marker that you have considered all aspects of the prompt.

To ensure that your essay flows well, it is good to have two body paragraphs discussing one side, and a third paragraph with the counterargument. This is prefarable to having an argument and counterargument within the same paragraph. 

7. Remember Quotes

By using quotes in your essays, you are showing your reader that you have a sound understanding of your text and aren’t making false claims. However, you shouldn’t be adding quotes just for the sake of it. They should be short, well embedded and help support an argument, not detract from it. Additionally, make sure that you aren’t retelling the story when you add a quote in – it is best to avoid saying things like, ‘the character says “XXX”.’

8. Discuss Metalanguage and Structural Features

When writing texts, authors use a lot of different metalanguage and structural devices. Sometimes, they are done simply for literary effect, but other times, they are used to add meaning.

Common structural features used by a writer include:

•     Metaphors
•     Symbols
•     Foreshadowing
•     Allusions

Structural features also depend on the text type – when you are analysing a film things like camera angles and sound will be very important.

•   You should always think about:
•     The effect that a certain device has on a reader
•     What it says about a certain character/event
•     The devices’ main purpose
•     Any themes it relates to

Hopefully this article gave you some ideas that you can implement into your text response essays! The better your understanding of the text, the better your essays will be, so don’t forget to spend time reading/annotating your text before you begin writing. 

If you'd like, you can download a set of notes which summarises the structure of a text response essay here.

Q: Why is it crucial to understand the structure of a text response essay?

A: Understanding the required structure is vital because it's one of the criteria you'll be assessed on. Each essay should have an introduction, body paragraphs (usually 3-4), and a conclusion. Knowing the structural requirements ensures you include all necessary components in your essay.

Q: How important is it to comment on the author's intentions in a text response essay?

A: Commenting on the author's intentions is key to demonstrating a deeper understanding of the text. Remember, everything the author includes in their work is intentional (even if you don’t think so), so you must try to note this where possible. Mentioning the author's name at least 1-2 times in each body paragraph helps tie your analysis to their purpose and message.

Q: Why should I consider the context of the text in my analysis?

A: Context significantly influences themes and character behaviours. Understanding the social, cultural, and historical values of the time in which the text is set enhances your analysis. It also helps deconstruct the author's intentions by considering real-world issues that may have inspired the text.

Q: How can I ensure I have a clear contention in my text response essay?

A: Your contention is your personal stance on the given prompt. It needs to be unmistakably clear, so your marker knows which side you're taking. Rephrasing the prompt to fit your opinion is a good starting point but aim for a contention with depth rather than mere agreement or disagreement.

Q: Why is it important to avoid summarizing the text in a text response essay?

A: Summarizing the text detracts from your analysis. Your marker already knows the story. Instead of recounting events, focus on analysing their significance and exploring your interpretations. Nominalization, or turning verbs into nouns, helps shift the focus from describing actions to analysing their effects.

Q: How should I incorporate counterarguments into my text response essay?

  A: Including counterarguments demonstrates a nuanced understanding of the text. Use transitional words like "however" and "whilst" to introduce alternate views. Structuring your essay with two body paragraphs discussing one side and a third paragraph presenting the counterargument ensures a coherent flow of ideas.

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• Essay Examples

What Response Essays Are and How to Tackle Them

Writing a response essay might seem like a challenging task at first. Firstly, you need to understand to a great extent what the study that you are responding to is talking about and then make sure that you write an insightful, true to the source essay about it. Even if you need to write a response essay as part of your homework for faculty studies or high school assignments or you want to exercise your argumentative skills, it might seem like a lot of work at first. However, having in mind a clear structure of your future response essay is essential.

Before beginning to go through the main structure points that you need to check when writing a response essay, there are some tips that you need to know and that will help you lay your thoughts on paper in a more efficient way. First of all, after reading the essay or the article that you are responding to, you need to settle on whether you want to attack the ideas presented in that article or to agree with them. Based on that, you will structure the components of your response essay. For example, if your response essay is talking about protecting the environment and you want to show your agreement with the ideas presented in the original essay, then you should build your response essay around the idea of consolidating the thoughts in the main source.

Secondly, it is important that your readers clearly understand your position after reading your response essay. This means that you need to expose all possible arguments which might strengthen or attack the ideas presented in the main article. In order for you to achieve a strong position, it might be helpful to also expose a personal experience that can be related to the topic you are writing an essay about. This will not only make your argument points stronger but will also help your readers empathize with your writing. Also, it is important that you keep in mind that your response essay should be a response to something you have read, something that is a hot topic at the moment in various social contexts or something that has been debated for a long time and you want to present a new approach to things.

You also have to keep in mind that the more knowledge you show to your audience in your response essay about the author and the topic that is being debated, the more credibility you will gain. Read some cause or effect essay topics to get inspired. This is why it is important to also present a context in your response essay, such as details about the author and the paper you are choosing to respond to. Finally, after debating the ideas of the original text, you can also choose to talk about the effectiveness of the source text. It can be about how the main paper managed to reach the audience, if the writing style was effective, and how the author you are responding to had chosen to expose their ideas.

If we were to summarize the main points you should keep in mind before starting to tackle the components of a response essay, these would be:

• Make sure to clearly expose your position regarding the article or paper you are responding to
• Don’t forget to expose the personal experiences or thoughts that might help you relate to the matter in question and your reader to empathize with your way of writing
• Prove that you have knowledge about the author of the main text and can put your response essay in a context
• Evaluate the main text’s effectiveness and how it managed to reach the audience

Get Started: Write an Introduction

One important thing when writing a response essay is the way you structure the introduction. This is one of the key parts of your essay, as it embodies the topic you are about to debate and the premises you are basing your essay on. The introduction will make your audience decide if they want to keep reading your response essay or not. This is why it is important that you keep in mind the following tips:

• Introduction is all about catching your audience’s attention
• It should provide a brief description of the topic
• You should be able to briefly summarize your thesis
• Don’t forget to give a short description of the author and the article you are responding to

It might be the case that the source article that you are about to discuss contains several parts or has different ideas which can be debated and your response article refers only to a part of them. In this case, don’t forget to also mention this. Do not forget that you need to keep it short and catchy.

How to Make Your Introduction Catchy – Introduction Ideas

Writing a catchy introduction that will make your reader read the whole response article is challenging. This is why you will find here some ideas to start with, such as:

• Making use of a statistic: some puzzling conclusion that researchers might have reached at some point and which is relevant to the topic you are about to respond to.
• Citing someone who is related to the area of expertise of your topic or is known for having deep knowledge about the topic. The more popular the person you are citing is, the more efficient your introduction will be.
• Story-telling or reproducing a dialogue might also help, provided they are relevant and short.
• Starting with a question or with a situation regarding the topic you are about to talk about might also be a good introduction idea.

You might even want to combine some of these ideas and write your introduction based on an example and a statistic or any other possible combination. Whatever you choose, make sure it stays to the point and is catchy to the eye of the reader.

How You Can Connect Introduction to Conclusion

Another important aspect that you need to consider when writing your introduction to the response essay is that you need to somehow connect it to the conclusion. In order for you to achieve a perfectly cyclic response essay, you need to find a way to make the two feel correspondent. This will help your response essay have a “frame” and will help your writing style be more efficient.

It might be a bit difficult at first to start with an introduction and end with a conclusion that are connected, mostly if you want to write very long and thorough response essays. However, one important suggestion that might help is to always make sure that before starting off your response essay, you are clear about the ideas and position you want to present. This will help you avoid changing your position as you advance in writing your essay and make your introduction and conclusion connected, giving a sense of symmetry to your text.

Below you can find some examples of how you can connect your introduction with the conclusion:

• If you are writing about the usage of mobile devices in our everyday life, you could start your introduction by exposing a real-life experience, maybe someone who is driving to work on a normal day and is stuck in traffic. You could start by asking your readers what they would do on their phones as they wait in traffic and end with several possible outcomes of this scenario.
• If you are choosing to present an essay about a personal experience and you start with an introduction about how a certain day started in your life, you could end your essay with how that day ended. This way, you will make sure you keep your readers connected to the story and have their attention all throughout the essay.
• If you decide to write about any other topic, such as a topic of national importance or even an environmental topic, you could start by stating the facts to which you want to draw the attention and end with the facts about the current situation or how it can be improved.

How to Write a Strong Thesis

After making sure that you have caught your readers’ attention, it is all about making it clear to them what your position regarding the source article is. However, you should also provide a context to your response article by mentioning details about the author and the main ideas in the article that you have chosen to respond to. It can be that you are choosing to respond only partially, to a few of the ideas presented there, so this is the reason why it is important to clearly state the ideas of the article you want to respond to. Make sure to give an account of whatever it is debated in the article, by presenting the information in an objective way. At this point, it is more important for your readers to understand what you are trying to agree or disagree with than hear your personal opinion. Also, exposing the ideas of the source text in an objective, impersonal way will help your readers decide for themselves if the position you are taking is one that they would take or not.

Afterwards, it is vital that you expose what is known as “thesis statement” by allocating one paragraph in which you clearly state if you agree or disagree with the main topic presented in the source text. This should start with “I agree/I don’t agree with” and should be followed by a short and powerful message about the main reason why you are taking this position regarding that text.

The next step is to talk more about the reasons you are considering attacking or agreeing with the ideas presented in the original text. This can be done by either reviewing what the author is saying or just expanding on the main ideas. You can, for example, try to understand why the author has reached a certain conclusion that you are debating by trying to relate it to the author’s background or career. It can be that the author has chosen to promote oil drilling because they work in a factory that wants to make this process a sustainable one. It is important that you stay true to your debate and present the situation from both points of view: yours and the author’s.

How to Respond to Articles – Ideas

After tackling the introduction and the conclusion, the main body of your response essay is left to deal with. This is mainly the way in which you choose to present the source text and where you are standing regarding it. It is up to you if you choose to agree or disagree, however, what you have to keep in mind is that you need to be consistent and stay true to the topic you have chosen to debate.

One way to do that is to map the main three components of the response essay, namely, the introduction, body, and conclusion. Here are some helpful suggestions on how to structure your responding ideas:

• Whether you agree or disagree, you can state 3 or more reasons for which you are doing so. Make sure to start each new paragraph and allocate enough space for your ideas to be clearly distinguished and stated.
• If you are partially agreeing or disagreeing, make sure to always mention that so that your readers will clearly understand your position.
• It is always important to see how the author’s ideas managed to reach the audience and in which ways the ideas were brought forward.

How to Better Structure the Body of the Response Essay

Make sure to utilize evidence to back-up your thesis. In order to do this, you can use quotes, author tags or simply rely on other readings and give references.

Make sure that you achieve a personal voice throughout the text. This can be done by differentiating yourself from the author and using author tags.

By using author tags, you communicate to your readers the fact that it is the author you are responding to who has a certain idea or it is their article that makes this reference. You can use any of these suggestions when talking about someone’s article:

• The author mentions
• The author refers to
• The author is suggesting
• The author writes
• The author asks
• The author recommends
• The author is presenting
• The author points out
• The author relates
• The author pleads
• The author denies
• The author’s remarks point to
• The author explains

Write a Conclusion Your Readers Won’t Forget

One important thing to keep in mind when writing a conclusion to your response essay is that you shouldn’t repeat the arguments in the same form in which you have presented them in the body. Offering a conclusion to your response article is still needed, as this will help your readers make a clear decision whether they agree or disagree with the ideas presented in your response essay.

Besides making sure that your essay is built around a very powerful introduction and a conclusion that sums up the main ideas of your position regarding this essay, you can also:

• Present the topic that you have been debating throughout the essay in a broader perspective; for example, if the topic you are tackling is national, you can connect this topic to the situation in other countries worldwide
• Promote an organization or an event that has some influence on the topic you have been responding to
• Present the current situation of the topic you are talking about and ring the alarm if anything needs to be done about it
• Summarize how your arguments shed a new light on the topic

A Brief Summary of How a Response Essay Should Look Like

Keeping everything in mind, the essential parts of a response essay and the main suggestions that you have to keep in mind when starting to write are:

• Paragraph 1: The first part of the introduction which needs to be vivid, catchy and reflect the point you are about to make.
• Paragraph 2: Provide a context to your response essay: details about the source-text and the author and what the main points in the article are.
• State your position regarding the ideas presented in the introduction and if you agree with the author’s take on the matter or not.
• Clearly mention if you are going to question the author’s position or expand on the author’s account of the facts.
• Give clear arguments pro or against the matter and allocate one paragraph to each of these arguments.
• Use statistics, story-telling, research findings, scientific discoveries, and any other tools suggested in this article.
• Provide an insightful and catchy conclusion that correlates with the introduction you have chosen for your response essay.

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Spring 2025 Semester

Undergraduate courses.

Composition courses that offer many sections (ENGL 101, 201, 277 and 379) are not listed on this schedule unless they are tailored to specific thematic content or particularly appropriate for specific programs and majors.

• 100-200 level

ENGL 201.ST2 Composition II: The Mind/Body Connection

Dr. sharon smith.

In this online section of English 201, students will use research and writing to learn more about problems that are important to them and articulate ways to address those problems. The course will focus specifically on issues related to the body, the mind, and the relationship between them. The topics we will discuss during the course will include the correlation between social media and body image; the psychological effects of self-objectification; and the unique mental and physical challenges faced by college students today, including food insecurity and stress.

English 201 S06 and S11: Composition II with an emphasis in Environmental Writing

S06: MWF at 10–10:50 a.m. in Yeager Hall Addition 231

S11: MWF at 12–12:50 p.m. in Crothers Engineering Hall 217

Gwen Horsley

English 201 will help students develop skills to write effectively for other university courses, careers, and themselves. This course will provide opportunities to further develop research skills, to write vividly, and to share their own stories and ideas. Specifically, in this class, students will (1) focus on the relationships between world environments, land, animals and humankind; (2) read various essays by environmental, conservational, and regional authors; and (3) produce student writings. Students will improve their writing skills by reading essays and applying techniques they witness in others’ work and those learned in class. This class is also a course in logical and creative thought. Students will write about humankind’s place in the world and our influence on the land and animals, places that hold special meaning to them or have influenced their lives, and stories of their own families and their places and passions in the world. Students will practice writing in an informed and persuasive manner, in language that engages and enlivens readers by using vivid verbs and avoiding unnecessary passives, nominalizations, and expletive constructions.

Students will prepare writing assignments based on readings and discussions of essays included in Literature and the Environment and other sources. They will use The St. Martin’s Handbook to review grammar, punctuation, mechanics, and usage as needed.

Required Text: Literature and the Environment: A Reader On Nature and Culture. 2nd ed., edited by Lorraine Anderson, Scott Slovic, and John P. O’Grady.

LING 203.S01 English Grammar

TuTh 12:30-1:45 p.m.

Dr. Nathan Serfling

The South Dakota State University 2023-2024 Undergraduate Catalog describes LING 203 as consisting of “[i]nstruction in the theory and practice of traditional grammar including the study of parts of speech, parsing, and practical problems in usage.”

“Grammar” is a mercurial term, though. Typically, we think of it to mean “correct” sentence structure, and, indeed, that is one of its meanings. But Merriam-Webster reminds us “grammar” also refers to “the principles or rules of an art, science, or technique,” taking it beyond the confines of syntactic structures. Grammar also evolves in practice through application (and social, historical, economic changes, among others). Furthermore, grammar evolves as a concept as scholars and educators in the various fields of English studies debate the definition and nature of grammar, including how well its explicit instruction improves students’ writing. In this course, we will use the differing sensibilities, definitions, and fluctuations regarding grammar to guide our work. We will examine the parts of speech, address syntactic structures and functions, and parse and diagram sentences. We will also explore definitions of and debates about grammar. All of this will occur in units about the rules and structures of grammar; the application of grammar rhetorically and stylistically; and the debates surrounding various aspects of grammar, including, but not limited to, its instruction.

ENGL 210 Introduction to Literature

Jodi andrews.

Readings in fiction, drama and poetry to acquaint students with literature and aesthetic form. Prerequisites: ENGL 101. Notes: Course meets SGR #4 or IGR #3.

ENGL 222 British Literature II

TuTh 9:30-10:45 a.m.

This course serves as a chronological survey of the second half of British literature. Students will read a variety of texts from the Romantic period, the Victorian period, and the twentieth and twenty-first centuries, placing these texts within their historical and literary contexts and identifying the major characteristics of the literary periods and movements that produced them.

ENGL 240.ST1 Juvenile Literature

Randi l. anderson.

A survey of the history of literature written for children and adolescents, and a consideration of the various types of juvenile literature.

ENGL 240.ST1 Juvenile Literature: 5-12 Grade

In English 240 students will develop the skills to interpret and evaluate various genres of literature for juvenile readers. This particular section will focus on various works of literature at approximately the 5th-12th grade level.

Readings for this course include works such as Night, Brown Girl Dreaming, All American Boys, Esperanza Rising, Anne Frank’s Diary: A Graphic Adaptation, Animal Farm, Fahrenheit 451, The Giver, The Hobbit, Little Women, and Lord of the Flies . These readings will be paired with chapters from Reading Children’s Literature: A Critical Introduction to help develop understanding of various genres, themes, and concepts that are both related to juvenile literature, and also present in our readings.

In addition to exploring various genres of writing (poetry, non-fiction, fantasy, historical, non-fiction, graphic novels, etc.) this course will also allow students to engage in a discussion of larger themes present in these works such as censorship, race, rebellion and dissent, power and oppression, gender, knowledge, and the power of language and the written word. Students’ understanding of these works and concepts will be developed through readings, discussion posts, quizzes and exams.

ENGL 240.ST2 Juvenile Literature Elementary-5th Grade

April myrick.

A survey of the history of literature written for children and adolescents, and a consideration of the various genres of juvenile literature. Text selection will focus on the themes of imagination and breaking boundaries.

ENGL 242.S01 American Literature II

TuTh 11 a.m.-12:15 p.m.

Dr. Paul Baggett

This course surveys a range of U.S. literatures from about 1865 to the present, writings that treat the end of slavery and the development of a segregated America, increasingly urbanized and industrialized U.S. landscapes, waves of immigration, and the fulfilled promise of “America” as imperial nation. The class will explore the diversity of identities represented during that time, and the problems/potentials writers imagined in response to the century’s changes—especially literature’s critical power in a time of nation-building. Required texts for the course are The Norton Anthology of American Literature: 1865 to the Present and Toni Morrison’s A Mercy.

WMST 247.S01: Introduction to Women, Gender and Sexuality Studies

As an introduction to Women, Gender and Sexuality studies, this course considers the experiences of women and provides an overview of the history of feminist thought and activism, particularly within the United States. Students will also consider the concepts of gender and sexuality more broadly to encompass a diversity of gender identifications and sexualities and will explore the degree to which mainstream feminism has—and has not—accommodated this diversity. The course will focus in particular on the ways in which gender and sexuality intersect with race, class, ethnicity, and disability. Topics and concepts covered will include: movements for women’s and LGBTQ+ rights; gender, sexuality and the body; intersectionality; rape culture; domestic and gender violence; reproductive rights; Missing and Murdered Indigenous Women (MMIW); and more.

ENGL 283.S01 Introduction to Creative Writing

MWF 1-1:50 p.m.

Prof. Steven Wingate

Students will explore the various forms of creative writing (fiction, nonfiction and poetry) not one at a time in a survey format—as if there were decisive walls of separation between then—but as intensely related genres that share much of their creative DNA. Through close reading and work on personal texts, students will address the decisions that writers in any genre must face on voice, rhetorical position, relationship to audience, etc. Students will produce and revise portfolios of original creative work developed from prompts and research. This course fulfills the same SGR #2 requirements ENGL 201; note that the course will involve creative research projects. Successful completion of ENGL 101 (including by test or dual credit) is a prerequisite.

English 284: Introduction to Criticism

This course introduces students to selected traditions of literary and cultural theory and to some of the key issues that animate discussion among literary scholars today. These include questions about the production of cultural value, about ideology and hegemony, about the patriarchal and colonial bases of Western culture, and about the status of the cultural object, of the cultural critic, and of cultural theory itself.

To address these and other questions, we will survey the history of literary theory and criticism (a history spanning 2500 years) by focusing upon a number of key periods and -isms: Greek and Roman Classicism, The Middle Ages and Renaissance, The Enlightenment, Romanticism, Realism, Formalism, Historicism, Political Criticism (Marxism, Post-Colonialism, Feminism, et al.), and Psychological Criticism. We also will “test” various theories we discuss by examining how well they account for and help us to understand various works of poetry and fiction.

• 300-400 level

ENGL 330.S01 Shakespeare

TuTh 8-9:15 a.m.

Dr. Michael S. Nagy

This course will focus on William Shakespeare’s poetic and dramatic works and on the cultural and social contexts in which he wrote them. In this way, we will gain a greater appreciation of the fact that literature does not exist in a vacuum, for it both reflects and influences contemporary and subsequent cultures. Text: The Riverside Shakespeare: Complete Works. Ed. Evans, G. Blakemore and J. J. M. Tobin. Boston: Houghton Mifflin, 1997.

ENGL 363 Science Fiction

MWF 11-11:50 a.m.

This course explores one of the most significant literary genres of the past century in fiction and in film. We will focus in particular on the relationship between science fiction works and technological and social developments, with considerable attention paid to the role of artificial intelligence in the human imagination. Why does science fiction seem to predict the future? What do readers and writers of the genre hope to find in it? Through readings and viewings of original work, as well as selected criticism in the field, we will address these and other questions. Our reading and viewing selections will include such artists as Ursula K. LeGuin, Octavia Butler, Stanley Kubrick and Phillip K. Dick. Students will also have ample opportunity to introduce the rest of the class to their own favorite science fiction works.

ENGL 383.S01 Creative Writing I

MWF 2-2:50 p.m.

Amber Jensen

Creative Writing I encourages students to strengthen poetry, creative nonfiction, and/or fiction writing skills through sustained focus on creative projects throughout the course (for example, collections of shorter works focused on a particular form/style/theme, longer prose pieces, hybrid works, etc.). Students will engage in small- and large-group writing workshops as well as individual conferences with the instructor throughout the course to develop a portfolio of creative work. The class allows students to explore multiple genres through the processes of writing and revising their own creative texts and through writing workshop, emphasizing the application of craft concepts across genre, but also allows students to choose one genre of emphasis, which they will explore through analysis of self-select texts, which they will use to deepen their understanding of the genre and to contextualize their own creative work.

ENGL 475.S01 Creative Nonfiction

Mondays 3-5:50 p.m.

In this course, students will explore the expansive and exciting genre of creative nonfiction, including a variety of forms such as personal essay, braided essay, flash nonfiction, hermit crab essays, profiles and more. Through rhetorical reading, discussion, and workshop, students will engage published works, their own writing process, and peer work as they expand their understanding of the possibilities presented in this genre and the craft elements that can be used to shape readers’ experience of a text. Students will compile a portfolio of polished work that demonstrates their engagement with course concepts and the writing process.

ENGL 485.S01 Writing Center Tutoring

MW 8:30-9:45 a.m.

Since their beginnings in the 1920s and 30s, writing centers have come to serve numerous functions: as hubs for writing across the curriculum initiatives, sites to develop and deliver workshops, and resource centers for faculty as well as students, among other functions. But the primary function of writing centers has necessarily and rightfully remained the tutoring of student writers. This course will immerse you in that function in two parts. During the first four weeks, you will explore writing center praxis—that is, the dialogic interplay of theory and practice related to writing center work. This part of the course will orient you to writing center history, key theoretical tenets and practical aspects of writing center tutoring. Once we have developed and practiced this foundation, you will begin work in the writing center as a tutor, responsible for assisting a wide variety of student clients with numerous writing tasks. Through this work, you will learn to actively engage with student clients in the revision of a text, respond to different student needs and abilities, work with a variety of writing tasks and rhetorical situations and develop a richer sense of writing as a complex and negotiated social process.

ENGL 492.S01 The Vietnam War in Literature and Film

Tuesdays 3-5:50 p.m.

Dr. Jason McEntee

In 1975, the United States officially included its involvement in the Vietnam War, thus marking 2025 as the 50th anniversary of the conclusion (in name only) of one of the most chaotic, confusing, and complex periods in American history. In this course, we will consider how literature and film attempt to chronicle the Vietnam War and, perhaps more important, its aftermath. I have designed this course for those looking to extend their understanding of literature and film to include the ideas of art, experience, commercial products, and cultural documents. Learning how to interpret literature and movies remains the highest priority of the course, including, for movies, the study of such things as genre, mise-en-scene (camera movement, lighting, etc.), editing, sound and so forth.

We will read Dispatches , A Rumor of War , The Things They Carried , A Piece of My Heart , and Bloods , among others. Some of the movies that we will screen are: Apocalypse Now (the original version), Full Metal Jacket , Platoon , Coming Home , Born on the Fourth of July , Dead Presidents , and Hearts and Minds . Because we must do so, we will also look at some of the more fascinatingly outrageous yet culturally significant fantasies about the war, such as The Green Berets and Rambo: First Blood, Part II .

ENGL 492.S02 Classical Mythology

TuTh 3:30-4:45 p.m.

Drs. Michael S. Nagy and Graham Wrightson

Modern society’s fascination with mythology manifests itself in the continued success of novels, films and television programs about mythological or quasi-mythological characters such as Hercules, the Fisher King, and Gandalf the Grey, all of whom are celebrated for their perseverance or their daring deeds in the face of adversity. This preoccupation with mythological figures necessarily extends back to the cultures which first propagated these myths in early folk tales and poems about such figures as Oðin, King Arthur, Rhiannon, Gilgamesh, and Odysseus, to name just a few. English 492, a reading-intensive course cross-listed with History 492, primarily aims to expose students to the rich tradition of mythological literature written in languages as varied as French, Gaelic, Welsh, Old Icelandic, Greek, and Sumerian; to explore the historical, social, political, religious, and literary contexts in which these works flourished (if indeed they did); and to grapple with the deceptively simple question of what makes these myths continue to resonate with modern audiences. Likely topics and themes of this course will include: Theories of myth; Mythological Beginnings: Creation myths and the fall of man; Male and Female Gods in Myth; Foundation myths; Nature Myths; The Heroic Personality; the mythological portrayal of (evil/disruptive) women in myth; and Monsters in myth.

Likely Texts:

• Dalley, Stephanie, trans. Myths from Mesopotamia: Creation, the Flood, Gilgamesh, and Others. Oxford World’s Classics, 2009
• Faulkes, Anthony, trans. Edda. Everyman, 1995
• Gregory, Lady Augusta. Cuchulain of Muirthemne: The Story of the Men of the Red Branch of Ulster. Forgotten Books, 2007
• Jones, Gwyn, Thomas Jones, and Mair Jones. The Mabinogion. Everyman Paperback Classics, 1993
• Larrington, Carolyne, trans. The Poetic Edda . Oxford World’s Classics, 2009
• Matarasso, Pauline M., trans. The Quest of the Holy Grail. Penguin Classics, 1969
• Apollodorus, Hesiod’s Theogony
• Hesiod’s Works and Days
• Ovid’s Metamorphoses, Homeric Hymns
• Virgil’s Aeneid
• Iliad, Odyssey
• Apollonius of Rhodes Argonautica
• Ovid’s Heroides
• Greek tragedies: Orestaia, Oedipus trilogy, Trojan Women, Medea, Hippoolytus, Frogs, Seneca's Thyestes, Dyskolos, Amphitryon
• Clash of the Titans, Hercules, Jason and the Argonauts, Troy (and recent miniseries), Oh Brother, Where Art Thou?

ENGL 492.ST1 Science Writing

Erica summerfield.

This course aims to teach the fundamentals of effective scientific writing and presentation. The course examines opportunities for covering science, the skills required to produce clear and understandable text about technical subjects, and important ethical and practical constraints that govern the reporting of scientific information. Students will learn to present technical and scientific issues to various audiences. Particular emphasis will be placed on conveying the significance of research, outlining the aims, and discussing the results for scientific papers and grant proposals. Students will learn to write effectively, concisely, and clearly while preparing a media post, fact sheet, and scientific manuscript or grant.

Graduate Courses

Engl 575.s01 creative nonfiction.

In this course, students will explore the expansive and exciting genre of creative nonfiction, including a variety of forms such as personal essay, braided essay, flash nonfiction, hermit crab essays, profiles, and more. Through rhetorical reading, discussion, and workshop, students will engage published works, their own writing process, and peer work as they expand their understanding of the possibilities presented in this genre and the craft elements that can be used to shape readers’ experience of a text. Students will compile a portfolio of polished work that demonstrates their engagement with course concepts and the writing process.

ENGL 592.S01: The Vietnam War in Literature and Film

Engl 704.s01 introduction to graduate studies.

Thursdays 3-5:50 p.m.

Introduction to Graduate Studies is required of all first-year graduate students. The primary purpose of this course is to introduce students to modern and contemporary literary theory and its applications. Students will write short response papers and will engage at least one theoretical approach in their own fifteen- to twenty-page scholarly research project. In addition, this course will further introduce students to the M.A. program in English at South Dakota State University and provide insight into issues related to the profession of English studies.

ENGL 792.ST1 Grant Writing

This online course will familiarize students with the language, rhetorical situation, and components of writing grant proposals. Students will explore various funding sources, learn to read an RFP, and develop an understanding of different professional contexts and the rhetorical and structural elements that suit those distinct contexts. Students will write a sample proposal throughout the course and offer feedback to their peers, who may be writing in different contexts, which will enhance their understanding of the varied applications of course content. Through their work in the course, students will gain confidence in their ability to find, apply for, and receive grant funding to support their communities and organizations.

• The exponential growth of solar power will change the world

An energy-rich future is within reach

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I t is 70 years since AT&T ’s Bell Labs unveiled a new technology for turning sunlight into power. The phone company hoped it could replace the batteries that run equipment in out-of-the-way places. It also realised that powering devices with light alone showed how science could make the future seem wonderful; hence a press event at which sunshine kept a toy Ferris wheel spinning round and round.

Today solar power is long past the toy phase. Panels now occupy an area around half that of Wales, and this year they will provide the world with about 6% of its electricity—which is almost three times as much electrical energy as America consumed back in 1954. Yet this historic growth is only the second-most-remarkable thing about the rise of solar power. The most remarkable is that it is nowhere near over.

To call solar power’s rise exponential is not hyperbole, but a statement of fact. Installed solar capacity doubles roughly every three years, and so grows ten-fold each decade. Such sustained growth is seldom seen in anything that matters. That makes it hard for people to get their heads round what is going on. When it was a tenth of its current size ten years ago, solar power was still seen as marginal even by experts who knew how fast it had grown. The next ten-fold increase will be equivalent to multiplying the world’s entire fleet of nuclear reactors by eight in less than the time it typically takes to build just a single one of them.

Solar cells will in all likelihood be the single biggest source of electrical power on the planet by the mid 2030s. By the 2040s they may be the largest source not just of electricity but of all energy. On current trends, the all-in cost of the electricity they produce promises to be less than half as expensive as the cheapest available today. This will not stop climate change, but could slow it a lot faster. Much of the world—including Africa , where 600m people still cannot light their homes—will begin to feel energy-rich. That feeling will be a new and transformational one for humankind.

To grasp that this is not some environmentalist fever dream, consider solar economics. As the cumulative production of a manufactured good increases, costs go down. As costs go down, demand goes up. As demand goes up, production increases—and costs go down further. This cannot go on for ever; production, demand or both always become constrained. In earlier energy transitions—from wood to coal, coal to oil or oil to gas—the efficiency of extraction grew, but it was eventually offset by the cost of finding ever more fuel.

As our essay this week explains, solar power faces no such constraint. The resources needed to produce solar cells and plant them on solar farms are silicon-rich sand, sunny places and human ingenuity, all three of which are abundant. Making cells also takes energy, but solar power is fast making that abundant, too. As for demand, it is both huge and elastic—if you make electricity cheaper, people will find uses for it. The result is that, in contrast to earlier energy sources, solar power has routinely become cheaper and will continue to do so.

Other constraints do exist. Given people’s proclivity for living outside daylight hours, solar power needs to be complemented with storage and supplemented by other technologies. Heavy industry and aviation and freight have been hard to electrify. Fortunately, these problems may be solved as batteries and fuels created by electrolysis gradually become cheaper.

Another worry is that the vast majority of the world’s solar panels, and almost all the purified silicon from which they are made, come from China. Its solar industry is highly competitive, heavily subsidised and is outstripping current demand—quite an achievement given all the solar capacity China is installing within its own borders. This means that Chinese capacity is big enough to keep the expansion going for years to come, even if some of the companies involved go to the wall and some investment dries up.

In the long run, a world in which more energy is generated without the oil and gas that come from unstable or unfriendly parts of the world will be more dependable. Still, although the Chinese Communist Party cannot rig the price of sunlight as OPEC tries to rig that of oil, the fact that a vital industry resides in a single hostile country is worrying.

It is a concern that America feels keenly, which is why it has put tariffs on Chinese solar equipment. However, because almost all the demand for solar panels still lies in the future, the rest of the world will have plenty of scope to get into the market. America’s adoption of solar energy could be frustrated by a pro-fossil-fuel Trump presidency, but only temporarily and painfully. It could equally be enhanced if America released pent up demand, by making it easier to install panels on homes and to join the grid—the country has a terawatt of new solar capacity waiting to be connected. Carbon prices would help, just as they did in the switch from coal to gas in the European Union.

The aim should be for the virtuous circle of solar-power production to turn as fast as possible. That is because it offers the prize of cheaper energy. The benefits start with a boost to productivity. Anything that people use energy for today will cost less—and that includes pretty much everything. Then come the things cheap energy will make possible. People who could never afford to will start lighting their houses or driving a car. Cheap energy can purify water, and even desalinate it. It can drive the hungry machinery of artificial intelligence. It can make billions of homes and offices more bearable in summers that will, for decades to come, be getting hotter.

But it is the things that nobody has yet thought of that will be most consequential. In its radical abundance, cheaper energy will free the imagination, setting tiny Ferris wheels of the mind spinning with excitement and new possibilities.

This week marks the summer solstice in the northern hemisphere. The Sun rising to its highest point in the sky will in decades to come shine down on a world where nobody need go without the blessings of electricity and where the access to energy invigorates all those it touches. ■

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This article appeared in the Leaders section of the print edition under the headline “The solar age”

Leaders June 22nd 2024

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• Emmanuel Macron’s project of reform is at risk
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