how to write a creative writing commentary

Masters Degree Creative Writing: A Journal

Studying the craft of writing

An Example Critical Commentary

Our latest assignments came back within four days of submission—a fast turnaround. Mine scored a high merit. Its main weaknesses were:

I should have mentioned more works of dystopian literature, rather than other media such as film and television drama. I had brought in the other media because part of the essay relates to how ‘script’ has influenced my work. There had been a reference to Fahrenheit 451 which I removed to save words, and I couldn’t talk about Brave New World or The Handmaid’s Tale because I discussed them in TMA 3. Instead, I focused on 1984 with mention of Vox and The Circle. If I had the chance to rewrite this, I would cut out references to film structure and replace them with more analysis of dystopian literature.
The essay talks about characterisation and narrative voice, before appearing to return to character, which the tutor felt showed a lack of control. I had meant the last discussion about ‘psychic distance’ to be part of the point-of-view section rather than character, but obviously that didn’t come across.
The word count was dangerously close. Agreed! Our essay was meant to be 3,000 words, with a 10% leeway either side. That means we could write between 2,700 and 3,300 words. I went up to 3,300. Once, on a course years ago, a tutor told me I could have used the word limit to expand an argument, but generally tutors don’t like it (more work for them), and going right up to the limit is dangerous as word processors count differently.
This didn’t affect me, but I heard from someone else who wrote too much about the influence of another genre—creative nonfiction—and was marked right down for it.

I’m including my TMA below in the hope that it might help people next year. We had no examples to go on this time—just very broad guidance notes, which makes it difficult to know what’s expected. Bear in mind that every tutor is different.

The names of other students are masked to protect their privacy.

TMA 06: A Critical Commentary

My EMA project continues a theme that I’ve been following throughout the Masters, beginning with The Sponsor (Daykin, 2017). It involves looking at modern cultural trends and spinning a narrative about the future. The Sponsor dealt with the social effects of automation. All Souls (Daykin, 2018a) explored how social media can empower toxic ideologies. Rebel Generation (Daykin, 2018b) asked what would happen if the elderly drastically outnumbered the young. My latest project, True Britain (Daykin, 2019c), is inspired by current political developments and predicts a swing to authoritarian government. Below, I will refer to these pieces and two stories outside the dystopian genre, Child of the Moors ( Daykin, 2019a) and The Grey Runner (Daykin, 2019b). In demonstrating how my writing has evolved, I focus on awareness of genre, character, narrative modes and the influence of script and creative nonfiction. I will show how feedback from others and the habit of ‘reading as a writer’ have informed my work.

For this project, I chose to write the opening of a novel. I had found the short story format insufficient to explore complex ideas in speculative fiction. Writing All Souls, for example, I struggled to provide a satisfactory ending, and a reviewer commented that the story ‘opened some doors to interesting social themes, but did not really engage with these themes in any depth’ (X, 2018). With True Britain, I am writing a much longer narrative exploring politics and history. As the project has to be seen in the context of the novel, some plot points not included in the EMA will be described here to explain decisions I have made.

A writer needs to be aware of the elements of genre, as readers have expectations about character, writing and plot (Neale, 2009, p3). Previously, I wrote intuitively without studying the conventions of genre. The Sponsor must have been inexact in its genre, as one reviewer asked if it was science fiction (XXXX, 2017). Dystopia is a subgenre of science fiction ‘because it depicts future fictive societies’ (Utopia and Dystopia, 2019), but in order for fiction to be clearly dystopian, certain elements have to be in place. One of these is that it is ‘built on the imperfections of the author’s world, created to be considerably worse’ (Ezzi, 2018). The intention of The Sponsor was to take current technological trends to their logical conclusion. In retrospect, the links to today’s society could have been emphasised more clearly, as I am attempting to do in True Britain .

I submitted two different openings of True Britain for peer review. The original began almost in media res, with a brief scene occurring before the army descended on Jake’s estate. Reviewers understood that this was a dystopia, but felt that the message and background were not clear (XXXX, 2019). My second attempt made Emily the character in focus, showing through her role as a teacher how the regime was indoctrinating the young. This provided more opportunity to demonstrate how and why Britain evolved from the present to a quasi-dictatorship. I conveyed information through a classroom debate on ‘favourite prime ministers’, but this extract was heavy in exposition, over-emphasising dialogue and giving the story a didactic, repetitive feel (XXXX, 2019b). Successful dystopias tend to introduce their circumstances through action. For example, in 1984 (Orwell, 1989) Orwell conveys the impoverished, oppressive nature of his society by following Winston Smith as he returns home. Orwell also inserts long extracts from another text which further explain the dystopia, but this seems a risky strategy as it stalls the action, and I have decided against using this technique in True Britain. Jake and Emily have more freedom to show their world through action than Smith.

One reviewer asked how True Britain would be ‘developed and distinguished from other fictions set in dystopian near futures’ (XXXX, 2019). One way I tried to achieve this was by blending genres. Once genre is understood, playing with it can ‘fuel reading enjoyment’ (Anderson, 2006, p162) and mixing genres has become more popular in publishing (Coles, 2019). True Britain is primarily a dystopia, but it includes elements of the action genre, and also weaves in brief historical passages written by a main character, Emily. Emily not only teaches history but identifies herself and others with its stories—an image of Elizabeth I in battle dress hangs by her desk, and she pictures other characters as Victorian waifs or Medieval scholars. Her historical fiction is included as a nested narrative, underscoring a central idea—that nothing is inevitable. In giving this importance to history, I drew inspiration from The Secret History (Tartt, 1993), a modern day detective story with characters immersed in the culture of the ancient past.

Soon after I had begun my project, I had the opportunity of comparing it with a near future scenario broadcast by the BBC, Years and Years (2019). This was useful in comparing techniques, for example in opening the story, but it also illustrated how different approaches could be applied to the same subject. True Britain was an opportunity to combine my interests in speculative fiction and history. While Years emphasises radical new technology and ideas such as transhumanism, the government of True Britain glamorises history, turning it into a crucial part of young people’s identities. As the Party slogan in 1984 goes: ‘who controls the past controls the future: who controls the present controls the past’ (Orwell, 1989, p260). In True Britain technological progress has gone backwards, something so unusual in near future dystopias that it was questioned by a reviewer (XXXX, 2019). In part, this is because a characteristic of dystopias is a reduction in living standards (Utopia and Dystopia, 2019), but it also reflects a government strategy to limit the means of communication.

Elements of the action genre distinguish True Britain from traditional dystopias such as 1984, bringing it closer to recent young adult dystopias like The Hunger Games (Collins, 2009). This action-oriented fiction includes bold, active protagonists, training sequences and physical confrontation. While Emily is a more typical character in dystopia, timidly questioning, Jake embraces a world of escalating violence. He joins the resistance movement, undergoes training and embarks on missions—although he is no Jack Reacher, and the consequences are messy.

Jake is in fact an ordinary lad who has grown up obeying orders in Britain’s newly authoritarian climate. This is a story with a message, but it remains important to ensure that characters are complex and credible. They are not replicas of any in my previous dystopias. Although Jake is of the same age and under similar pressures to Deivos in Rebel Generation, he lacks Deivos’s nihilism, and is driven by the wish to save his family and community rather than to take revenge. Emily resembles Maddie in All Souls in that she opposes a new orthodoxy, but she does it on intellectual grounds, and also has a greater sense of self-preservation. It has been suggested that she could begin as right-wing herself, gradually awakening to injustice (XXXX, 2019b). However, I see her as somebody with strong ideas that, at first, she can only express cautiously. As Sokoloff explains, a protagonist should have conflicting internal and external motivations: this tension and the eventual triumph of the internal motivation will drive the plot (Sokoloff, 2015, p46). In Emily’s case, her external motivation is to stay safe; but her internal motivation drives her to defy the regime and its intellectual stranglehold.

One problem I have had in the past is writing strong lead characters. A protagonist cannot be passive, but must be capable of changing both themselves and the situation (Moon, 2013). When I created Jenny in Child of the Moors , I tried to explore a flawed personality, but Jenny’s faults did not give her agency; she caved to her domineering mother in a way that strained credibility (XXXX, 2019a). It has been suggested that there is a cultural reluctance to portray flawed female protagonists. Heroines are often simply ‘good’, without the capacity for selfishness seen in male anti-heroes (The New Yorker, 2013). Female protagonists are relatively rare in dystopias written for adults, and those that exist seem less capable of resistance; for example, Mae in The Circle (Eggers, 2014) never questions the oppressive nature of the corporation she works for (Petri, 2016). In my first piece, The Sponsor, I notice that although Summer is the main character, crucial decisions—to reject the sponsorship and then to flee—are made by her husband, Zach. In True Britain, however , Emily is as active and potentially unlikeable as Jake; she rescues Jake, then pushes him away; she is an atheist, but seeks refuge with evangelicals. Sokoloff argues that the most satisfying character arc results in a person becoming less selfish (Sokoloff, 2015, p106), and this is what happens to both Emily and Jake, with Emily sacrificing the precarious remnants of her security to save Jake a second time.

Protagonists require enemies who will try to thwart their goals. In dystopias, the antagonist is often the setting (Revis, 2010). Burroway argues that across all genres, ‘setting is often to some degree symbolic’ and ‘suggestive of a larger meaning’ (Burroway, 2011, p141). This is particularly true of a dystopia, where Jake and Emily’s environment—the ubiquitous flags, the jingoistic posters and the strained faces of it citizens—all contribute to an atmosphere of enforced patriotism. This focus on the setting as the enemy can lead to unimpressive human antagonists, mere cogs in the machine. For example, in Vox (Dalcher, 2018), the villain is annoying rather than terrifying. However, it is still important that the villain has his own motivations: ‘the best villain would be a hero—just not in this version of the story’ (Coe, 2016). In True Britain , both Emily and Jake have antagonists whose goals conflict with their own. Emily is faced by her fanatical pupil Alex, who immediately introduces conflict. In past work I have always tried to show the motivation of antagonists, but haven’t always succeeded; the self-righteous, wealthy characters in The Sponsor, for instance, ‘were more one sided, which made them seem less human’ (XXXX, 2017). In True Britain, Alex’s mixture of pride and rage must be psychologically real; his own voice will join the discourse of the story, reflecting David Lodge’s idea that in a novel, ‘no ideological or moral position is immune from challenge’ (Lodge, 2011, p129).

One area that needs improvement in my writing is a tendency to introduce too many characters. In Rebel Generation, the story followed three strands, each with multiple characters whose lives intersect. Reviewers felt that some characters failed to make an impression, with their voices merging (XXXX, 2018) and a lack of control in focus (XXXX, 2018). In True Britain I again met criticism for bringing in too many characters, which was confusing for the reader (XXXX, 2019). Robert Wood suggests that a story should have ‘as few characters as necessary,’ and that each should have a unique role and emotional outlook (Wood, 2016). When editing True Britain, I cut out those characters whose roles were not clearly needed while increasing the narrative presence of those whose role would be important later on. This latter group includes Jake’s girlfriend, whose pregnancy inspires his desperate attempts to return to his family, culminating in his second intrusion into Emily’s life.

During my development as a writer, I have increasingly used multiple narrators in order to cover conflicting perspectives. In True Britain, the tone of Jake and Emily’s stories contrast: one characterised by violent adventure, the other by careful negotiation. I am currently experimenting with different points of view for the narrative. One option is to have Emily narrate, retrospectively, in first person. This is necessary if the story is in past tense, as Jake doesn’t survive. Past tense, here, echoes the theme of history. The Secret History also uses first person and past tense; Mullan suggests that this ‘opens a gap’ between the past and present versions of the narrator, emphasised by occasional slips in tense as the narrator tries to make sense of their past actions (Mullan, 2006, p45). This is useful in Emily’s case; her personality and circumstances have undergone significant changes. However, it is unusual to have a combination of first and third person narrators: one example is found in the short stories of Jennifer Egan, but the effect there is not continuity but inferred connections (Masters, 2018). Jason Black suggests that this combination can be useful if one character should be kept close and the other ‘an enigma’ (Black, 2017), but there is no narrative reason for Jake to be a mystery. One of the novels I’m reading as part of background research is Anatomy of a Scandal (Vaughan, 2018) , which not only gives insights into the British political establishment, but also alternates between first and third person perspectives. Here, the effect is to create a feeling of closeness with a character whose actions unravel the mystery generated by the others. There is a very specific reason for this; she is also one of the characters narrated in third person. This treatment of point of view in Anatomy has been well received by critics, with one commenting that the ‘shifts in perspective add considerable suspense’ (Sethi, 2018). In True Britain , the justification for mixing narrative approaches would be different, and I am still trying various strategies. Given the theme of history, it seems fitting for Emily to act as a historian, not only of herself but of Jake and the entire country. Alternatively, I could revert to the more conventional style of alternating third person narrators, which Skinner argues is suited to plot-driven stories and has the advantage of creating ‘dramatic irony’ because the reader will know more than the characters (Skinner, 2018, p74). In this case, neither Jake nor Emily would be aware of how catastrophic their decisions might be, but the reader, with a wider vantage point, would see it.

A major criticism of my project has been that the characters are ‘buried because there is so much story to cover’ (XXXX, 2019). This related to the action scene filtered through Jake’s third-person perspective. Readers found themselves emotionally detached from Jake, and on rereading the piece I can see that the psychic distance is too remote, creating a rather cold effect. For example, when Jake sees a neighbour ‘lying motionless on his sloping lawn, one leg buckled and a dark smudge on his cheek’ (Daykin, 2019c), there is no indication of how Jake feels about this. There were too many ‘thought verbs’, which Palahniuk argues pushes the narrative towards telling rather than showing (Palahniuk, 2011). In an action sequence such as this, as Shultz suggests, ‘psychic distance should be drawn closer’ (Shultz, 2017). Details conveyed to the reader reflect the focal character’s personality and state of mind (Ellis, 2019). I will try to use the technique I experimented with in The Grey Runner, ‘zooming in’ to the protagonist, John, in a way that encompassed his internal monologue and stream of consciousness. For example, John hallucinates: ‘That’s odd, it reminds him of. Of something. Himself, as a child?’ (Daykin, 2019b).

In addition to studying fiction, I have also learned from the genres of creative nonfiction and script. Nonfiction requires research, with an emphasis on truth presented in a literary style, and this was a prerequisite for True Britain . The story has at times a documentary feel, with information conveyed by news footage and studio interviews as well as classroom debates. My factual research covers subjects ranging from English history (Jenkins, 2012) to the experience of teaching (Crossley-Holland, 2009). A misunderstanding of current political trends or a factual misstep by a character obsessed with history could alienate readers. This is the most extensive research I have carried out for a project, and it has also involved developing methods to catalogue the information.

A major influence has been script, which I’ve largely studied independently, taking particular inspiration from Alexandra Sokoloff, who describes how cinematic techniques can be applied to fiction (Sokoloff, 2015). Sokoloff draws on the template of the ‘hero’s journey’ (Bronzite, 2019). Using the film script structure of sequences and Acts, I mapped out the True Britain novel, gaining a better understanding of where the dramatic climaxes should be and what elements the reader will unconsciously expect to see in place at every stage. With this analysis, the EMA would represent most of the First Act, in which setting, allies, antagonists and goals are established, and the protagonists ‘step over the threshold’ into the big adventure of Act Two. Jake’s eviction by the authorities is the inciting incident; Emily’s offer to shelter him forms the Sequence One climax. Sequence Two involves growing tension, culminating with Jake, abandoned by Emily, joining a resistance group at the climax of Act One. Both protagonists have ‘crossed the threshold’. To give a parallel, 1984 is divided into three Acts; Act One ends after Winston encounters Julia in the street, marking the first step in their doomed relationship.

The question of how to open the novel has been difficult. After the first attempt was dismissed as too unsubtle, I had Emily introduce the situation from her perspective a year later, when, although this was not stated, she is living in America. However, this was felt to have ‘a distancing effect—closer to the viewpoint of a historian’ (XXXX, 2019). I watched the openings of a range of dystopian films, noting different ways of beginning: some used exposition (text or voiceover), while others employed the device of an interview, debate or speech, and the rest plunged straight into the action. News footage and rapid montages of sound and images were very common. My original approach was similar to that in Years and Years —a family watching television, oblivious to forewarnings of their own impending doom. I’m now considering an opening in which Emily drives into town to meet an old friend, a sequence made more sinister by the fact that the friend doesn’t show up. The first paragraph would resemble the establishing shot in a film, demonstrating the changed landscape and its fearful atmosphere without the need for exposition. As in Children of Men (2006) , billboards could be used to convey cultural information. Anthony Powell, an early adopter of cinematic techniques in novels, also opened with a panoramic image that communicated his themes (Radner, 2019).

Another aspect emphasised in script is ‘plants and pay-offs’, the cinematic equivalent of foreshadowing. Chekhov argued that ‘if there is a gun hanging on the wall, you should make quite sure that it is going to be used’ (Miyamoto, 2017). In past work, I’ve been less conscious of this, and overloaded scenes with unnecessary detail: for example in Child , a memorial cross ‘needed to be foregrounded to strengthen the connection to the child revelation’ (XXXX, 2019a) but was instead obscured by irrelevancies. Every detail must play its part, and although some of them support mood and setting, others have greater significance. For instance, when Emily drives into town in the opening scene, she is witnessing the subtle build up to a purge that will strike the area next day—rather akin to the first signs of disturbance in a psychological horror film.

In some ways True Britain mirrors The Sponsor, an earlier dystopian story with interlinking narrative strands. However, I hope it is a more mature work, informed by feedback from others and from my reading of other texts from the perspective of a writer. It reflects a greater awareness of the importance of genre conventions and how to use them creatively; the significance of detail, the need for active protagonists and strategies for controlling points of view. As well as studying the craft of fiction writing, I have been absorbing influences from other genres and have considered the techniques used in successful novels and films.

Word count: 3300 words

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XXXX.(2019) TMA05 Tutor Comments and Advice to Students (‘True Britain’)

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School of Modern Languages and Cultures

Writing a literary commentary: guidelines, what is a commentary.

First and foremost, a literary commentary is NOT an essay. The passage in front of you is not, therefore, an invitation to write a general essay about the work from which it has been taken.
A commentary is an analysis of the given passage, its function and its characteristics. It should examine the key themes and stylistic devices of the passage, showing how the language works to convey (or at times undermine) its content.
A commentary should relate the passage to the rest of the work (novel, collection of poems, etc.), but remain focused in the main on the details of the passage itself.
Make sure that your commentary covers the whole passage. For instance, if you are given a poem with five stanzas, you should try to say something about each stanza.
Use line numbers (in both poetry and prose) in your commentary, rather than wasting time by quoting at length.
When you do quote, make sure that your comments don't simply repeat what the quotation already says: 'In the line "Il pleut dehors", the poet tells us that it is raining outside ...'
Avoid verbosity or inaccurate terminology. Clarity and precision are top priorities, and polysyllabic words do not improve a commentary.
Don't use words like 'effective', 'atmospheric', or 'beautiful' unless you are also explaining what the effect, atmosphere or beauty of the passage are, and how they are achieved.

How should I write my commentary?

There are no fixed rules for writing a commentary, but a general structure will be suggested. You should always PLAN your commentary before you start writing it, following these guidelines where appropriate.

1 Introduction

Put the passage into context , and summarise its arguments briefly (in a few sentences): do not spend too much time discussing matters outside of the passage.
You should assume that your reader has read the work from which the passage has been taken.
You may want to point out the passage's most important thematic and structural aspects in your introduction.
Introduce the main themes and structural aspects of the passage.
What kind of passage is it (description/dialogue/free indirect speech), and what is its function (in the rest of the work)?
What is its overall structure (repetitious/circuIar/leitmotifs/develops to a climax)?
What is the narrative point of view (first-person/third-person/omniscient or not)?
What are the register (high/low) and tone (comic/surreal) of the passage?

3 Detailed Analysis

This is the most substantial part of the commentary. It should not be simple description or paraphrase, but an analysis of how the language of the passage functions. The following are aspects of the text that you should look for:

Sentence structure
Tense usage
Word order (balance or lack thereof, harmony, repetition, parallels)
Figurative language (imagery, metaphors, similes, symbolism, allegory, personification, myth, antithesis, irony, paradox)
Characterisation (or lack thereof)
Narrative technique/point of view (first/third person, limited point of view, stream of consciousness)
Punctuation
Alliteration, assonance, rhyme (poetry and prose)

Remember that no text is likely to have instances of all of these elements, and that it is best to concentrate on those that are most relevant to the passage in question. Also, you should avoid simply commenting on the appearance of a particular technique: make sure you say why this is worth noticing. Ideally, your comments should cohere to explain how the various linguistic devices combine to produce the overall effect intended by the author.

4 Conclusion

Summarise your findings, drawing together the different aspects of the text that you have discussed in your commentary.
Assess briefly the achievements and significance of the passage, both in itself and in relation to the work from which it is taken.

Some useful aids to commentary-writing

Nurse, P. (ed.), The Art of Criticism: Essays in French Literary Analysis (Edinburgh, 1969) (sample commentaries of French literary texts)
Biard, J. D., Lexique pour I 'explication de texte (Exeter, 1980)
Benac, H., Vocabulaire de la dissertation (Paris, 1949)

(Binac and Biard provide lists of technical terms used in close analysis of a literary text in French, and give explanations and examples of usage)

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Education and Communications
Studying Literature

How to Write a Literary Commentary

Last Updated: February 23, 2023 Fact Checked

This article was co-authored by Stephanie Wong Ken, MFA . Stephanie Wong Ken is a writer based in Canada. Stephanie's writing has appeared in Joyland, Catapult, Pithead Chapel, Cosmonaut's Avenue, and other publications. She holds an MFA in Fiction and Creative Writing from Portland State University. 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 706,405 times.

A literary commentary is a detailed analysis of a passage of text, focusing specifically on the text itself. It should not be confused with a literary analysis essay, as it does not need a thesis statement or a general discussion of the book as a whole. Instead, the literary commentary should only analyze and reflect on a specific passage. To write a literary commentary, start by reading the text and creating an outline. Then, dive right into a detailed discussion of the text. Make sure you polish the literary commentary for style, grammar, and spelling before handing it in so it is at its best.

Literary Commentary Help

how to write a creative writing commentary

Starting the Literary Commentary

Make sure you have a hard copy of the passage so you can mark it up as you read it. Jot down any initial thoughts or questions you may have about the text as you read it several times.

You should also look for words that are repeated in the text, as this means they are likely important. Notice if the same word is used in a different context in the passage and highlight each mention of the word.

Introduction section: Identify the text
Body section: Discuss the main features of the text
Conclusion section: Summarize your thoughts on the text

Writing the Literary Commentary

Step 1 Identify the title, author, and genre in the introduction.

For example, you may note, “Published in 1966, Seamus Heaney’s ‘Blackberry-Picking’ is a poem that appears in his poetry collection, Death of a Naturalist .”
If the text is from a larger work, do not write about the overall plot of the larger work. You should also not include details from the author’s biography or the historical period when the text was written, unless it feels relevant to the passage.

Step 2 Discuss the text’s subject, themes, and audience.

For example, in Seamus Heaney's poem, "Blackberry-Picking,” the subject is two people picking a large quantity of blackberries. [2] X Research source
The themes of the poem could be nature, hunger, and decay or rot.
The poem begins with a dedication to “Philip Hobsbaum,” which means he could be the intended audience of the poem, the “you” addressed in the poem.

Step 3 Look at the genre, form, and structure of the text.

The genre and form of the text will also help you determine the structure of the text. For example, Seamus Heaney's "Blackberry-Picking” takes the form of a poem and fits in the genre of poetry. It uses a familiar poetic structure, such as short lines of text and is broken into two stanzas.

For example, in Seamus Heaney's "Blackberry-Picking,” the speaker uses the first person voice. The speaker then addresses a “you” in the text, indicating there are two characters in the poem.

For example, in Seamus Heaney's "Blackberry-Picking,” the tone in the first stanza is nostalgic and light. The tone then shifts in the second stanza to be more serious and dark.

Step 6 Identify the literary devices in the text.

For example, if you are discussing Seamus Heaney's "Blackberry-Picking,” you may look at a simile like “You ate that first one and its flesh was sweet/Like thickened wine: summer's blood was in it.” Or you may discuss imagery like “a rat-grey fungus” or “fruit fermented.”
You can find a complete list of literary devices in literature online. [5] X Research source

For example, if you are discussing themes of decay in Seamus Heaney's "Blackberry-Picking,” you may quote a line like “I always felt like crying./It wasn't fair/That all the lovely canfuls smelt of rot.”

Step 8 Wrap up the commentary with a summary of your thoughts.

For example, you may end your literary commentary on Seamus Heaney's "Blackberry-Picking” by noting how the poem fits into the poetry collection and reflects common themes in Heaney’s work.

Polishing the Literary Commentary

Step 1 Read the commentary aloud to yourself.

You can also read the commentary aloud to someone else to get their feedback. Ask a peer, a friend, or a family member to listen to you read the commentary and then ask for their feedback.

Step 2 Confirm the commentary follows a clear outline.

You can go through the commentary and write down “introduction” or “discussion of text” next to the relevant paragraphs in the commentary. Doing this will ensure you cover all the necessary information in the commentary.

Step 3 Review the commentary for spelling, grammar, and punctuation.

If you are using a computer to write the literary commentary, you can use the spellcheck option in the computer program. However, you should not rely on spellcheck only to go through your work. Make sure you also do a close review of the commentary for any errors before you hand it in.

Community Q&A

↑ https://warwick.ac.uk/fac/arts/modernlanguages/intranet/undergraduate/skills/commesswriting/commentarywriting/
↑ https://www.poetryfoundation.org/poems/50981/blackberry-picking
↑ http://literary-devices.com/
↑ https://writingcenter.unc.edu/tips-and-tools/reading-aloud/
↑ https://writingcenter.unc.edu/tips-and-tools/editing-and-proofreading/

About This Article

To write a literary commentary, begin by closely reading the text at least twice while paying attention to the content and structure. While commentaries do not need a thesis statement, you should identify the title, author, and genre in your introduction. In your body paragraphs, discuss the text’s subject, themes, and audience while pointing out any literary devices, like metaphors or symbols, that you notice. Use quotes to illustrate your points and conclude with a summary of your thoughts on the text. For advice about how to read and annotate your text from our Writer reviewer, scroll down. Did this summary help you? Yes No

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It’s getting closer to the Literature exam and you’re probably starting to get more serious about avoiding dropping too many SAC marks! Depending on which order your school does Literature SACs in, you may be currently facing the often feared ‘Creative Response’. Whether you feel beyond excited to finally bring some creative flair to Literature, or you’re totally scared at the thought of creating something new, I wanted to use this blog post to help you achieve at least ten of the marks in this section. That is through the reflective commentary, which you can totally score full marks on if you put in the effort.

The VCAA Literature Study Design determines that students must submit ‘a reflective commentary establishing connections with the original text’. This aspect of the assessment counts for 10 of the 60 marks available for the Creative Response outcome. The study design further denotes that students must

‘reflect critically upon their own responses as they relate to the text, and discuss the purpose context of their creations’.

This allows your schools and teachers to direct in a relatively broad way on how you should form your reflective commentary, and may mean your friends at other schools write theirs in a very different way. In this blog post I will leave you with a suggestion of how I best believe a reflective commentary could be structured to include all important aspects, as well as tips on how to include all of what the study design asks. As I said, these are ten marks that can easily be snatched with just a little bit of hard work and attention to detail, so why not snatch them?

To induce the things needed to be included in the reflective commentary, we can look to the key knowledge and key skills points outlined in the study design:

Key knowledge:

- the point of view, context and form of the original text,

- the ways the central ideas of the original text are represented,

- the features of the original text including ideas, images characters and situations, and the language in which these are expressed,

- techniques used to create, recreate or adapt a text and how they represent particular concerns or attitudes.

Key skills:

- identify elements of construction, context, point of view and form particular to the text, and apply understanding of these in a creative response

- choose stylistically appropriate features including characterisation, setting, narrative, tone and style

- critically reflect on how language choices and literary features from the original text are used in the adaptation

What you’re really trying to do in your reflective commentary is prove to your teacher that you are hitting all these key knowledge and key skills points. As you write, ensure you are discussing how the author uses point of view, context, form, elements of construction and stylistic features in their text. It is than imperative that you describe how you have similarly used such device in your creative response. Ensure that you also discuss how you are involving the ideas and themes of the text in your creative piece, and how you are discussing them further, or exploring them in greater depth. Obviously only talk about those that are relevant to your creative response!

Sample reflective commentary

Having scored a 10/10 in my own reflective commentary, I will provide a structure that can be used to ensure you are including everything you need. I discussed my own reactions to the original text, and described how I wanted to rouse similar reactions in the reader of my creative response.

In your reflective commentary, it can be easier to put everything under subheadings. These are the ones that I used:

-Characterisation

-Literary features (here I chose 7 particular literary features used in my text and discussed how I emulated them)

Under each of these paragraphs, I analysed how the author used such features to create and convey meaning, and discussed how I, in my own piece, drew on her use of them and expanded on her ideas. Here is an example of my ‘Purpose’ paragraph, which will hopefully give you an idea on how you might write your own commentary! My text was Cate Kennedy’s Dark Roots , in particular the short story ‘What Thou and I Did, Till we Loved’.

In my piece, I ultimately attempted to lead the reader to a place of discomfort, faced with a situation that they wish never to be faced with. When I first read What Thou and I Did, Till we Loved (Dark Roots, Cate Kennedy), I simply wished never to be in Rebecca’s position, as I was sobered by the sadness of her demise as she watched her lover fade away. I sought to elicit the same response from the reader, as I aimed to convey the deterioration that both lovers suffer, as well as the loss of communication between them. I also attempted to allow the reader to question the humanity in keep people alive by machines and drugs, and whether it is fair to force people to live an unnatural life. I have sought to explore this even further than What Thou and I Did, Till we Loved bringing in the question of euthanasia and whether we have a right to die as Kyle begs of Max to “kill me” at the end of the piece, and Max concedes that “[he] would if [he] could”. The themes of my piece seeks to explore are the ways of coping with grief, guilt at causing the illness of a loved one, a life with a lack of substance, and the loss of communication due to illness.

Hopefully you’re feeling better about how you might go about completing your creative response, and getting that 10/10 on your reflective commentary!

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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!

Imagine a friend tells you eerie accounts of her witnessing a ghostly presence in her home. You scoff and condescendingly humour her. But as her stories begin to manifest itself in her gaunt appearance, you alarmingly notice how she truly believes in the apparitions she recounts. You begin to doubt her sanity, you begin to doubt the certainty with which you dismissed her supernatural visions and now, you begin to doubt yourself. THE SUSPENSE BUILDS.

But let’s say this friend filmed the ghostly apparitions and showed them to you. Sure – the evidence of this ghost is frighteningly scary. But the suspense that was built in the doubt, uncertainty and ambiguity of your friend’s tale is now lost. The ghosts caught in film acts as another eyewitness and another medium to validate your friend’s narrative. Your friend is no longer the only person who sees these ghosts, shattering all doubt within you of the ghost’s existence. THE SUSPENSE – is gone.

Notice how the form and genre of the spoken word in the first example was meaningful in its the effect on the reader? But when the form changed to a film, the meaningful suspense and ambiguity that was unique and crucial in the original text, changed , and was no longer as pronounced. Yes – the film itself may be terrifying. But the very doubt and suspense around not knowing if your friend was a lunatic for seeing ghosts or if she was telling the truth all contributes to the meaning derived from the form of the ‘text’ in an unreliable first person narrative. This is the crux of adaptations and transformations, and what you need to identify and analyse – how the meaning is changed/altered when the form of the text is changed .

Here are 7 lucky tips for how to tackle the SAC:

Identify the unique conventions in the construction of the original text – characterisation, genre, tone, style, structure, point of view/narration (or any devices employed in constructing the text e.g. cinematic devices in a film such as camera angles, framing, lighting, costumes, interior/exterior settings, sound)
Now do step 1 with the adapted/transformed text
How do the two text forms differ ? How are they the same ? However, be sure you do not simply compare and contrast. The most crucial step is what meaning can be derived from the similarities and differences? How does the meaning change?
Note additions and omissions (and even silences) – do they change how readers/viewers perceive the narrative and alter your opinions and perceptions of the text?
Historical context and setting – what significance does the context have on the narrative? Has the adaptation/transformation been re-contextualised? Does that alter the meaning of the original text?
How does the change in form impact you as the reader/viewer ? Analyse your own reactions and feelings towards each text form. Do you sympathise with a character more in the original text? How are we positioned to feel this way? Why do you lack the same level of sympathy for the adapted/transformed text?
Incorporate pertinent quotations from both forms of text to substantiate and support your ideas and key points.

Final questions to ponder

Most importantly is to share your original interpretation of what meaning and significance you can extract from the text, and how you believe it changes once the form alters.

What makes the text in its original form interesting or unique?

Is that quality captured in its adaptation/transformation?

As always with Literature, this task is designed for you to critically analyse and actively engage with the text, understanding its nuances inside and out in order to decipher its meaning. Be individual in comparing and contrasting the two texts – avoid the obvious similarities/differences everyone in your class will also notice. It is the insightful analysis of the subtleties of how meaning is altered that will help you stand out!

Let's all be honest here, Year 12 is endlessly tiring. Literature, for all its greatness, can also be endlessly tiring. Along with 3-4 other subjects, sometimes the idea of writing a practice piece, deeply analyzing the language of your text, or doing research into the context, views and values of the author are things you really, really don’t feel like doing.

Although these things are necessary and important, they’re also often difficult, taxing, and possibly not that interesting. Not too long before the Literature exam, my friend and I were texting, both feeling immense stress and guilt because we felt we hadn’t studied enough for the exam, but equally tired and unable to write any practice pieces. I’m sure many of you are very familiar with the paradox of not spending time studying because you are instead spending that time worrying about not studying.

However, there’s really no need to suddenly feel full of stress and anxiety when you have no motivation to do such work for Literature, that’s just wasted energy! Instead, accept that you’re going to have a little break from the serious stuff, and use that energy instead to improve your understanding and knowledge of your text (part of the exam criteria!!).

My friend and I decided we’d meet for coffee, and try and just discuss our exam texts together (Who’s Afraid of Virginia Woolf and Dark Roots).

‘Bring paper and the books’ she texted me ‘I’ve got an idea’. And that idea was...

VCE Literature Charades

How to play:1. Find a friend2. Think a concept, character, quote, theme, literary device or anything really from one of your texts3. Forget about your dignity4. Act it out until your friend guesses5. Swap and repeat.And once people started to stare as we theatrically mimed things like ‘metaphor’ and ‘the albatross’ we decided to tone it down a little bit, leading to the invention of...

VCE Literature Pictionary

How to play:1. Find a friend2. Think of a concept, character, quote, theme, literary device (you get the idea)3. Keep your dignity intact!4. Start drawing the idea until your friend eventually guesses (warning: could lead to many failed attempts at drawing ‘foreshadowing’)5. Swap and repeat.

So I know this seems ridiculous but I swear, without even realizing it you’re getting to know your text so much better. There’ll be that moment in the exam room when all you’re thinking is ‘what on earth is that quote’, and suddenly you’ll remember how you’re friend fell off her chair trying to mime it. Either way, it’s a much more valuable use of time than worrying about not studying, especially because you’ll spend most of the time laughing.

If you’re alone, and you really don’t feel like studying for literature, but you still kind of have to study for literature… don’t despair! Find a place in your house where you wont be disturbed (or disturb anyone) and pretend you’re running an information session on your text. I used to record endless minutes of myself rambling about all different facets of my text, with no comprehensible structure, just trying to say and explain everything I knew about it. I would delete them almost straight away, but trust me, taking on the role of a teacher can be very fun, and when no ones watching, you can really just go for it. Things are much more likely to stay in your memory when you’ve explained them aloud, so you’ll be super prepared for your SACS!

Of course, it is beyond important to make sure you write as many practice pieces as you think you need to, and to work on tasks that may at times be ‘boring’, but if you want to avoid burning out try making studying a little fun!

Updated for the new 2023-2027 Study Design!

AoS 1: Adaptations and Transformations

Aos 2: developing interpretations.

AoS 1: Creative Responses to Texts

AoS 2: Close Analysis

This is your ultimate guide to everything you need to know to get started with VCE Literature. We will be covering all the sections within Units 3 and 4, and have included resources that will help improve your skills and make you stand out from the rest of your cohort!

Scope of Study

Here's what the VCAA study design states...

'The study of VCE Literature fosters students’ enjoyment and appreciation of the artistic and aesthetic merits of stories and storytelling, and enables students to participate more fully in the cultural conversations that take place around them. By reading and exploring a diverse range of established and emerging literary works, students become increasingly empowered to discuss texts. As both readers and writers, students extend their creativity and high-order thinking to express and develop their critical and creative voices.'

'Throughout this study, students deepen their awareness of the historical, social and cultural influences that shape texts and their understanding of themselves as readers. Students expand their frameworks for exploring literature by considering literary forms and features, engaging with language, and refining their insight into authorial choices. Students immerse themselves in challenging fiction and non-fiction texts , discovering and experimenting with a variety of interpretations in order to develop their own responses.'

...but don't worry if the above is vague, we'll take you through exactly what you need to know for Year 12 Literature! Let's get into it! ‍ ‍

In Unit 3, students consider how meaning is created through form, and how different interpretations may be developed out of a singular text. First, students understand how writers adapt and transform texts, and how their interpretation of the text impacts this transformation into a different form. Secondly, students use another text to develop their own interpretations of a text with regard to its context , and views and values . Unit 3 School-Assessed Coursework is worth 25 per cent of your total study score!

This task is designed for you to critically analyse and actively engage with the text, understanding its nuances inside and out in order to decipher its meaning. Be individual in comparing and contrasting the two texts – avoid the obvious similarities/differences everyone in your class will also notice. It is the insightful analysis of the subtleties of how meaning is altered that will help you stand out!

Here are some important aspects to consider and questions to ask yourself while tackling this SAC:

Identify the unique conventions in the construction of the original text
Now do Step 1 with the adapted/transformed text
How do the two text forms differ ? How are they the same ? The most crucial step is what meaning can be derived from the similarities and differences? How does the meaning change? ‍
Note additions and omissions (and even silences) ‍
Historical context and setting ‍
How does the change in form impact you as the reader/viewer ?
Incorporate pertinent quotations from both forms of text to substantiate and support your ideas and key points.

Most importantly, share your original interpretation of what meaning and significance you can extract from the text, and how you believe it changes once the form alters.

Also ask yourself these questions:

‍ What makes the text in its original form interesting or unique?

‍ For more detailed explanations on these 7 aspects, you might want to check out Adaptations and Transformations Lit SAC: A How To Guide.

Developing interpretations is an AoS that focuses on investigating the meaning and messages in texts, as evidenced by the text itself, it’s author and their context . As per the study design:

'Students first develop their own interpretations of a set text, analysing how ideas, views and values are presented in a text, and the ways these are endorsed, challenged and/or marginalised through literary forms, features and language. These student interpretations should consider the historical, social and cultural context in which a text is written and set. Students also consider their own views and values as readers.'

Following this, you investigate a supplementary reading which will offer another interpretation of the text, which may enrich or challenge your interpretation by agreeing or disagreeing with your interpretation. Using this supplementary reading, you reconsider your initial interpretation and apply your new understanding of the text to key moments.

The SAC for Developing Interpretations is a little bit weird. It’s worth 50% of unit 3 (or 25% of your total study score), but is split into two parts:

Part A: An initial interpretation of the text’s views and values within its historical, social and cultural context.

Part B: A written response that compares/interweaves and analyses an initial interpretation with a subsequent interpretation, using a key moment from the text.

Your teacher might do the two parts together, or separately. In any case, Part B will include the use of a passage from the set text that you must engage with. How does the passage help you to interpret the text, and how does that interpretation agree or disagree with the interpretation presented in the supplementary reading?

The most difficult part of the SAC for this AoS is balancing your interpretation, the textual evidence, and the alternative interpretation of the supplementary reading. It is vital that if you are doing Literature this year, that you know your 3.2 text like the back of your hand, and that you practice writing loads and loads. It is also worth trying to make your interpretation incredibly specific, so that you can go in-depth into one idea, rather than simply skimming over 3 or 4 big ideas.

For more on Developing Interpretations, you might want to check out VCE Literature Study Design (2023-2027): A Guide to Developing Interpretations which explains in detail what the new AoS is about and what you need to do.

And, if you're studying Alias Grace you'll find our Developing Interpretations SAC Guide on interpreting Alias Grace especially helpful.

‍ Unit 4: Interpreting Texts

Aos 1: creative response & reflective commentary.

The most important part of this task is that you must have a highly convincing connection between the original text and your creative response .

There must be a tangible relationship present, through an in-depth understanding of the original text’s features. These features include characterisation (what motivates these characters), setting, context, narrative structure, tone and writing/film style.

You can establish this relationship by: ‍

Adopting or resisting the same genre as the original text
Adopting or resisting the author’s writing/language style
Adopting or resisting the text’s point of view
Adopting or resisting the original setting, narrative structure or tone
Writing through a peripheral character’s perspective
Developing a prologue, epilogue or another chapter/scene
Rewriting a key event/scene from another character’s point of view: Does this highlight how important narrative perspective is?
Recontextualising the original text

For detailed explanations on how to establish these relationships, read "Creative Response To Text" Ideas .

The VCAA Literature Study Design also determines that students must submit a ‘close analysis of a key passage’. This aspect of the assessment counts for 20 of the 60 marks available for the Create Response outcome. The study design elaborates that students must produce:

‘A close analysis of a key passage from the original text, which includes reflections on connections between the creative response and the original text.’

In short, VCAA wants you to not only analyse the original text and use it as the basis for your Creative Response, they want you to be able to closely analyse a section of the original text, and link it to and reflect upon your creative response. This is different from previous years and the same task in English, the Reflective Commentary. You must use the skills of close analysis in this task. To include these things, look to the key knowledge and skills outlined in the study design.

Key Knowledge:

Understanding of the point of view, context and form of the original text
The ways the literary form, features and language convey the ideas of the original text
Techniques used to create, recreate or adapt a text and how they represent particular views and values

Key Skills:

Discuss elements of construction, context, point of view and form particular to the text, and apply understanding of these in a creative response
Analyse closely the literary form, features and language of a text
Reflect on how language choices and literary features from the original text are used in their adaptation

As you write, ensure you are discussing how the author uses point of view, context, form, elements of construction and stylistic features in their text. It is imperative that you describe how you have similarly used such device in your creative response. Ensure that you also discuss how you are involving the ideas and themes of the text in your creative piece, and how you are discussing them further, or exploring them in greater depth. Obviously only talk about those that are relevant to your creative response!

To read a sample Reflective Commentary, check out Elly's blog post on how to Score 10/10 On The Reflective Commentary ‍

From the VCAA study design:

'In this area of study students focus on a detailed scrutiny of the language, style, concerns and construction of texts. Students attend closely to textual details to examine the ways specific passages in a text contribute to their overall understanding of the whole text. Students consider literary forms, features and language, and the views and values of the text. They write expressively to develop a close analysis, using detailed references to the text.'

In plain words, your teacher (and eventually examiner in the end of year exam) will give you 3 passages from your text. You'll be asked to read each of these passages, identify key ideas or themes present in each of the passages, and write an essay in response.

Writing the Introduction

Introductions are an excellent way to showcase your ability to provide an insight into your personal “reading” of the text, interpret the passages and allow you an avenue through which to begin your discussion of the material.

When constructing introductions, it is important to note that the VCAA Literature Exam Criteria is as follows: ‍

Understanding of the text demonstrated in a relevant and plausible interpretation
Ability to write expressively and coherently to present an interpretation
Understanding of how views and values may be suggested in the text
Analysis of how key passages and/or moments in the text contribute to an interpretation
Analysis of the features of a text and how they contribute to an interpretation
Analysis and close reading of textual details to support a coherent and detailed interpretation of the text
Considering these points, your introduction should feature these 2 elements: your personal reading of the text and your interpretation of the passages.
In terms of structure, try to begin with a sentence or two explaining your personal reading of the text. The key to doing so in a manner befitting Close Analysis however, is to utilise quotes from the passages to supplement your assertion.

Head over to Jarrod's blog to read a sample introduction: VCE Literature Close Analysis: Introduction ‍ ‍

Extra Resources

Views and Values

VCE Literature Essay Approaches - Not a Language Analysis

What is Authorial Intent in VCE English and Why Is It Important?

The Importance of Context in Literature ‍

Study Techniques: How To Approach a Text That You Hate

Why Genre Matters in VCE Literature: An Analysis of Dracula

Developing Interpretations SAC Guide: Interpreting Alias Grace

The big trap students doing both English and Literature fall into is the habit of writing Close Readings like a Language Analysis essay. In essence, the two of these essays must tick the same boxes. But, here’s why analysing texts in Literature is a whole different ball game – in English, you want to be focusing on the methods that the author utilises to get their message across, whereas Literature is all about finding your own message in the writing.

In a Language Analysis essay, the chances are that most students will interpret the contention of the writer in a similar fashion and that will usually be stated in the introduction of the essay. Whereas in Literature, it is the formulation of your interpretation of the author’s message that is what really counts. In a typical Language Analysis essay, the introduction is almost like a summary of what’s going to be talked about in the next few paragraphs whereas in a close reading, it is the fresh ideas beyond the introduction that the markers are interested in.

For this reason, every Close Reading that you do in Literature will be unique. The overarching themes of the text you are writing from may be recurring, but for every passage from the text that you are given, what you derive from that will be specific to it.

From my experience, this is what stumps a lot of students because of the tendency is to pick up on the first few poetic techniques used in the passages and create the basis for the essay from that. This usually means that the student will pick up on alliteration (or another technique that they find easy to identify) used by the author and then try and match it to an idea that they have discussed in class. Whilst this can be an effective way to structure paragraphs, many students aren’t consciously utilising this approach and instead are doing it ‘by accident’ under time pressure, or a lack of understanding of other ways to get a point across.

In general, there are two main approaches that can be followed for body paragraphs in a literature close reading analysis:

1. Start wide and narrow down.

What does this mean? So, as I mentioned before, each of your close readings should be very specific to the passages in front of you and not rehearsed. However, it’s inevitable that you are going to find some ideas coming back more often. So, after reading through the passage, you will usually get a general understanding of the tone that the author has utilised. This will indicate whether the author is criticising or commending a certain character or social idea. Using this general overview to start your paragraph, you can then move closer and closer into the passage until you have developed your general statement into a very unique and clear opinion of the author’s message (with the support of textual evidence of course).

This is the essay approach that is generally preferred by students but is often used poorly, as without practice and under the pressure of writing essays in exam conditions, many students revert back to the old technique of finding a literary device that they are comfortable with and pushing forth with that.

The good thing about this approach is that when you understand the general themes that the author covers, you will become better and better at using that lens to identify the most impactful parts of the passage to unpack as you scrutinise the subtle nuances of the writer’s tone.

2. Start narrow and go wide.

You guessed it - it’s basically the opposite of the approach above. However, this is a more refined way of setting out your exploration of the author’s message as opposed to what was discussed earlier (finding random literary devices and trying to go from there). Using this approach does not mean that you have no direction of where your paragraph might end, it just means that you think the subtle ideas of the author can be used in culmination to prove their wider opinion. For example, if you get a passage where the author describes a character in great detail (Charlotte Brontë students, you might be familiar!) and you think there is a lot of underlying hints that the author is getting at through such an intricate use of words, then you might want to begin your paragraphs with these examples and then move wider to state how this affects the total persona built around this character and then maybe even a step further to describe how the writer’s attitude towards this character is actually a representation of how they feel towards the social ideas that the character represents.

The benefit of this approach is that if you are a student that finds that when you try and specify on a couple of key points within a large theme, you end up getting muddled up with the potential number of avenues you could be writing about, this style gives a bit of direction to your writing. This approach is also helpful when you are trying to link your broader themes together.

The main thing to remember in the structure of your body paragraphs – the link between your examples and the broader themes that you bring up should be very much evident to the marker. They should not have to work to find the link between the examples you are bringing up and the points that you are making. Remember, a Close Reading is all about the passage that is right in front of you and its relation in the context of the whole text and the writer’s message. Be clear about your opinion, it matters!

Happy writing!

Ahhh school holidays. The perfect two weeks to catch up on homework and forget about the stresses of school. Now, this scenario isn’t what the majority of our school holidays actually look like. For some, school holidays present a challenge whereby we don’t have direct access to our teachers to ask for help and we ultimately find ourselves in a bit of a ‘motivation downslide’.

Personally, the school holidays were a great time for me to go through all the concepts that I found tricky during the term. Yet, I always found myself running into a bit of trouble with what I like to call ‘the procrastination jungle’, especially with English. So, here are a few tips that can help you find some sparks of motivation for when you feel like there is simply no road ahead.

1: Write Down/Outline/Revisit Your Goals

Often the best way to figure out how you’re travelling through the year is to pause, breathe and reflect back (cue Disney’s Mulan, Reflection ) on what was a busy and hectic term.

I always found it useful to revisit some of my previous goals that I had set for myself and tick them off if I had accomplished them. For instance, a goal that I had for the start of Term 2 was to ask my teachers more questions about concepts that I was still unsure of. When it came to the Term 2 holidays, I revisited this goal and was able to tick it off which gave me an incredible sense of achievement and reassured me that I was on track to finish the year off with a score that I was going to be super proud of in the end.

You might be asking, ‘what if I haven’t written down any goals throughout the year?’ Not to worry! It is never too late to start contemplating what your objectives are for the year. In fact, use this time now during the start of your holidays as a stepping stone to building up a habit of doing just this. This will help you tremendously in defining your journey towards accomplishing your aspirations and offer you perspective on any improvement areas you may need to address in your subjects.

But, how exactly are you supposed to make goals? Some may say that this process is somewhat ‘tedious’, but I’m here to help take the guesswork out of making, revisiting and addressing your goals using the ‘ SMART ’ technique:

Be specific (S) and measurable (M) with your goal → Maybe your aim is to get a 90+ ATAR by the end of Year 12 or maybe your goal is to improve your grade average from 80% to 85%. No matter what your goal is, be sure to make note of what needs to be accomplished and what steps need to be taken to achieve it. Let’s have a look at an example:

‘My goal before the end of Term 3 is to have written one English Essay for all of my novels every week and have it marked by my teacher’.

Notice how to the point this is? I’ve mentioned exactly what it is that I want to see completed, by when and the frequency - ‘one essay per week’.

Is your goal going to be achievable (A) and is it going to be relevant (R) ? → While goal setting might encourage you to be ambitious, sometimes we need to take a step back and think to ourselves, is this goal realistic and is it relevant to what you personally want to achieve at the end of an academic year? Let’s have a look at another example:

‘My goal before the end of term is to read all four of my novels three times a week, write 10 essays for each novel every week and complete a three-hour practice exam every second day of every week’

Now I know what you’re thinking, anything is possible if you put your mind to it, but writing 10 essays for each novel and completing a three-hour practice exam every week?! Not only is this goal simply not realistic, but what relevance is this goal going to have when you’ll inevitably feel burnt out and tired from writing all those essays!

And last but not least, when will your goal be completed? This point stresses the importance of ensuring that your goal is realistic and attainable so that you can achieve it within a given time frame (T) . We’ve been specifying in our examples that we would like to complete our goals by the end of the term but feel free to critically consider how long your goal may take in reality. Is the goal of wanting to improve your Language Analysis skills really going to be achieved within a matter of days?

2: Look for Gaps in Your Understanding

Pinpointing what you still need to go through and what you’ve already mastered is guaranteed to save you time and effort studying when it comes to SACs and eventually the exam. By doing this, you’ll feel a sense of control and direction when you begin another term, without experiencing the often icky feeling of being lost and unsure.

The way that I went about this was to:

1) Source the study design for each of your subjects (you can do this by going to the VCAA website ) and either print them or have them saved onto your desktop. 2) Read through the study design and start to familiarise yourself with the dot points and what you have already covered in class. 3) Go through the study design and, using highlighters or coloured pens, come up with a colour coordinating system. I personally opted for:

Red = areas that you’re still unsure about and need further improvement
Green = areas of mastery
Orange = areas of the study design where you’re in the middle and could do with some polishing up

4) Link your existing notes to the study design dot points and if you haven’t already covered a particular dot point in your notes, take the time to study and add these in.

3: Pomodoro Technique

If you didn’t believe in magic before then you definitely will with the Pomodoro Technique. I used this method religiously back in Year 12 and still do at University. It involves breaking up your study into bite-size chunks whereby you complete intervals of 50 minutes of study followed by a 10-minute break. After every 3-4 cycles, add in a 20-minute break.

Let’s have a look at an example of my typical morning back in Year 12:

9:00am - 9:50am: Select an essay prompt for Rear Window from the 2019 VCAA English Exam to dissect and write a detailed essay plan
9:50am - 10:00am: Breaktime! Quick trip to the fridge for snacks.
10:00am - 10:50am: Write out a full essay for the prompt ( check out this blog for prompt ideas ) and email my teacher for feedback
10:50am - 11:00am: Watch some Youtube and make a cup of tea
11:00am -11:50am: Select an essay prompt for The Crucible and The Dressmaker comparative and write a full essay
11:50am -12:10pm: An extended break! Make some lunch and play with my dog

What I love about this is that it enables you to break up the work into manageable pieces so that you focus solely on one task before taking a well-deserved break. This ensures that you don’t burn out from constantly studying without scheduling time for relaxation, recovery and recharge.

How you use your break time is completely up to you. Do anything to take your mind off your work for a few minutes before diving back into your studies!

4: Prioritise Your Mental and Physical Health

While it may feel productive to be studying and revisiting content covered in previous terms, there is no understating the importance of taking the time to practice good habits that improve your mental and physical health.

Consider taking your dog for a walk while listening to a few songs along the way, or going to your local swimming pool and doing a few laps! Anything to get your body moving will help to ensure that you break your routine up a little bit and experience something different to the often mundane task of studying and completing work. Maybe also get your friends involved too! You can try organising a volleyball game or whatever activity you are all keen on!

5: Don’t Compare Your Motivation Levels to Others

Everyone is sitting somewhere different on the motivation scale. Some may be extremely motivated to reread their texts, write up essay plans, write timed essays, etc. and others may find it difficult to achieve consistent motivation all the time, and that’s okay. To feel motivated all the time is failing to step back and reflect on how far you’ve come as a person in your personal journey.

Often it is when we compare ourselves to others and say ‘but look at how motivated they are’ or ‘they’ve already done so many practice exams and are going to get a really good study score’ that we fall into this trap of finding ‘flaws’ within ourselves. Comparing your diligence and beliefs in terms of your studies to others is only ever going to do you harm. Focus on your own journey and know that it is absolutely necessary to not expect to be motivated to study all the time. It’s simply not realistic.

6: Remind Yourself That This Won’t Go on Forever

The powerful verse ‘this too shall pass’ is something I had to always remind myself of back when I was in Year 12. Months and months of SACs, practice exams and feeling burnt out felt like an eternity and it started to impact my own sense of willingness to continue my personal academic journey. If it gives you any reassurance, however, know that one day you’ll look back on this chapter of your life with nothing but memories and perhaps even have a laugh or two at how young you were in your school photos!

With the Literary Perspectives essay can come mild confusion regarding its structure, extent (as well as form) of analysis and differentiability from your standard English text response - which is why I’m here to tell you that this confusion, while inevitable, is easily overcome! A text like Cat on a Hot Tin Roof is rife with complexities in both its narrative features and literary devices, all prime for discussion in your own essay. ‍

Consider the following prompt: “ Discuss the proposition that ‘ Cat on a Hot Tin Roof’ is a condemnation of 1950’s American society.”

Don’t let this prompt’s simple exterior fool you. What it leaves room for - and what the assessor will ultimately be looking for - is the development of your own complex ideas. It is this metamorphosis from the simple to complex that, when evident in your own writing, allows your essay to truly shine. This is obviously applicable to English as well, but where a clear fork in the road lies is in the act of grouping those complex ideas under the umbrella of a specific critical lens (or multiple!).

For instance, this specific prompt is great in how a diverse range of literary perspectives can be applied to it due to its main subject being 1950s American society. These can include: feminist, psychoanalytical, queer, New Historicist, Marxist, and I’m sure many others!

When faced with a number of critical lenses you can choose from, it’s important to keep in mind the fact that focusing your essay on mainly two or three lenses will ensure it’s more streamlined and therefore easier to both write and read. I know incorporating more lenses as a means of adding variety within your essay is quite tempting, but this is sure to both hinder the depth of your analysis/discussion - which is where marks are ultimately rewarded - and run the risk of disrupting any form of cohesion in your writing. The lenses you choose will ultimately be dependent on the extent of their applicability to the prompt and how comfortable you are with using them (i.e don’t use a Marxist lens if you don’t know how to extensively discuss social classes). The combination of lenses you choose, coupled with your own interpretation, help to inform the development of your unique perspective of the text.

For this prompt, I personally chose to focus on using the critical lenses of New Historicism, psychoanalysis and queer theory. From here, I’m able to ask myself questions catered to each perspective such as “What specific cultural values are examined in COAHTR and how does Williams present them?” and, relating this to the prompt at hand by also asking: “Is this presentation condemnatory?”. The lenses you choose should be interlinked with your arguments and thus your analyses, enabling you to show the assessor you understand that this isn’t an English text response! ‍

Introduction

A frequently asked question regarding the intro of a literary perspectives essay is whether or not to state the critical lens/es you are using. The answer to this is that it’s ultimately up to you! Some important points to consider however are:

Am I able to include this statement without it sounding janky and disruptive of flow?
If I were not to include it, am I able to make it clear enough to the assessor from the get-go what perspective/s I am using?

Outside of that, a literary perspectives intro is pretty similar to that of any other essay. One thing to remember however, especially with COAHTR, is to briefly explain certain significant concepts you choose to mention. A good example of this is the American Dream - demonstrating that you understand what it is at its core via a brief explanation in your intro is going to leave a far better impression on the assessor than not elaborating on it at all.

See mine below:

“Defined by its moral incongruity against socially upheld conservative values, Tennessee Williams’ play Cat on a Hot Tin Roof illuminates the debilitative effects of subscription to a belief system entrenched in immorality. By highlighting the ways in which values such as heteronormativity and the American Dream — deemed synonymous with “equal opportunity” — serve only as obstructions to genuine human connection, Williams underpins both his condemnation of such mores and, therefore, the eminent human struggle to attain true happiness."

As you can see, I personally chose not to explicitly state what critical lenses I was using in my essay. However, I did make sure to include certain words and phrases commonly associated with the critical lenses they represent.

For example:

New Historicism: “socially upheld conservative values”, “belief system”, “values such as heteronormativity and the American Dream”
Psychoanalytical: “moral incongruity”, “human connection/struggle to attain true happiness”
Queer theory: “heteronormativity”

This allows me to inform the assessor of what lenses I'm using in spite of an absent explicit statement. It’s also far more efficient in this case than having to use the janky phrase “Under the critical lenses of New Historicism, psychoanalysis and queer theory…”.

Body paragraphs:

As I'm sure you already know by now, Literature grants you a lot more freedom than English in terms of structure - and this is especially applicable to the body of your essay! It's important however to find a balance between what structure you’re most comfortable writing with and what’s going to impress the assessor (as opposed to abusing this freedom and floundering about with zero cohesion).

What I personally tend to be comfortable doing is loosely following a TEEL structure, while spicing it up a little by switching around the order here and there. This is especially evident in my first body paragraph below for the aforementioned prompt, in which I begin with some passage analysis rather than your typical topic sentence:

“Positioning the audience within an American plantation home’s “bed-sitting-room”, Williams immediately envelops the play’s moral foreground in domesticity and the conservative mores of 1950s American society that serve to define such an atmosphere. It being the bedroom of heterosexual couple Brick and Maggie evinces the nature of their exchanges as demonstrative of the morally debilitating effects of the values upheld by the society in which they live — illuminating Williams’ intention to present social mores as obstructive of genuine human connection. Such an intention is foregrounded by the disparity that exists between the external and internal; that is, the socially upheld status of Brick and Maggie’s heterosexual relationship — exempt from subjection to social “disgust” — and the “mendacious” reality of their marriage in its failure to provide either individual with the same sense of primordial wholeness Brick finds in his “clean”, “pure” and “true” homosocial relationship with Skipper. From the outset of the play, heteronormative values are debased as Williams subverts the domestically epitomised dynamic between husband and wife into an embodiment of the inhumane. Maggie is likened to a “priest delivering a liturgical chant”, her lines interspersed with “wordless singing” — alluding to her overly performative nature that compromises the genuineness of human connection. Brick’s visual absence during the play’s opening and his “masked indifference”, too, further undermine the social perception of heterosexuality as the pinnacle of love as it is this reticence that exemplifies the absence of happiness found in their marriage. This sense of disconnection, wherein “living with someone you love can be lonelier — than living entirely alone”, forces Maggie to navigate their relationship through the reductive mode of a “game” wherein it is only by detecting “a sign of nerves in a player on the defensive” that she can attempt to derive genuine emotion from her husband. To reduce human connection to a set of manoeuvrable tactics punctuated only by “the click of mallets” is an act portrayed by Williams as propagative of immorality, vehemently contrasting the reconciliation of the divided self afforded to Brick by the “one, great true thing” in his life: friendship with Skipper. By making the audience privy to the inhumanity lying at the helm of 1950s American social mores, Williams thus presents his scathing critique of such a system, reflecting its capacity for obstructing human connection and therefore the futility of conforming to its standards.”

A key feature of this paragraph is the nature of my analysis - it is, essentially, very similar to what you’d find in a passage analysis essay. It’s important to note that the skills you’ve learnt for the latter can be easily implemented in a literary perspectives essay and is often what allows it to truly stand out! It also forces you to frequently reference the text with quotes in the same way you would in a passage analysis essay, which is glorious in any assessor’s eyes.

With “zooming in” on certain passages in the text (think analysing literary devices, setting, syntax, etc.) however must also follow “zooming out” and evaluating their overall meaning, especially in relation to their significance to the prompt.

A concise example of “zooming in and out” from the previous paragraph can be seen below:

“ Maggie is likened to a “priest delivering a liturgical chant”, her lines interspersed with “wordless singing” — alluding to her overly performative nature that compromises the genuineness of human connection. ”

Below is another example from a different body paragraph for the same essay:

“ Hateful figures transformed into animalistic grotesques, the children of Mae and Gooper are depicted as “no-neck monsters” with “dawg’s names”, with the “fat old body” of Big Mama herself alternating in appearance from “an old bulldog” to a “charging rhino”. Here the moral degradation of a society so heavily reliant on the atomisation of its individuals is made most conspicuous, with Big Daddy’s semblance to a large animal who “pants and wheezes and sniffs” serving as a further testament to such a notion.”

Conclusion:

This is yet another portion of your essay granted freedom by the nature of VCE Literature, so whether or not you choose to intertwine it with your last body paragraph or separate it completely is entirely up to you. What you choose to emphasise in your conclusion is also very similar to that of any other essay as the main focus is to hammer home your interpretation of the text in relation to the prompt!

See my example below:

“Williams, by presenting 1950’s American society as both propagative of atomisation and obstructive of innate morality, ultimately highlights the futility that lies in assimilating to such a belief system as a means of attaining true happiness. The pressure to subscribe to morally reductive values wherein any remnants of the innate are wholly ignored only further shrouds the possibility of happiness at all, and it is here where Williams’ portrayal of the human struggle to attain this ideal is made most conspicuous.”

Literature is probably one of your hardest VCE subjects. If it’s not, then go you! (please tell me your secrets).

However, if you’re anything like me, then you probably look a bit like this when you begin considering the overall meaning of a text, the author’s views and values, and how any three passages in the text create the meaning.

When I became awash with confusion, like our old pal Ryan Renolds, the first thing I did (after eating a whole block of chocolate), was ensure I understood the context of the text. Without a clear understanding of the context of your text, you cannot fully comprehend the views and values of the author, nor the overall meaning of a text (it’s also part of the criteria for literary perspectives)!

So if you want to be feeling like this after you write a piece for literature:

Consider the following:

AUTHOR’S CONTEXT VS. READER’S CONTEXT

Austen was hunched over her small writing desk in the village of Chawton during England’s Georgian era as she wrote Persuasion. You are more likely reading it in a cozy bed, listening to Taylor Swift and half considering what you’re going to watch on Netflix later. Remember, your current social and cultural context can have a great influence on how you read a text, so it’s always important to imagine the author’s own context – whether this be very similar, or very different from the context of their text. It’s as easy as a Google search!

For a more in-depth look into how authorial intent and context is important in VCE English, read Context and Authorial Intention in VCE English .

SOCIAL CONTEXT

The social context of a text is the way in which the features of the society it is set in impact on its meaning. There are two aspects to social context: the kind of society in which the characters live, and the one in which the author’s text was produced.

Charlotte Brontë’s Jane Eyre was set in the same social context she herself lived in. It was one in which women were seen as the lesser sex, there was a great divide between the wealthy and lower class, and strict class boundaries were enforced. All of these societal features are key in determining Brontë’s views on the importance of social inclusion, and her championing of the strength of women. Or just listen to Phoebe:

HISTORICAL CONTEXTS

The historical context of a text is entangled with its social context, as underlying norms and convention are historically specific. The historical context is important to note especially when large changes have occurred between the time the work was produced, and our current day, so it is not assessed by our own concerns alone.

Aeschylus’ Agamemnon was first performed in 458BC, in Ancient Greece, a time vastly different from our own. Therefore, it is important to be aware of how the play was delivered, at the festival of Dionysus as part of a trilogy. Also have an understanding of the myths surrounding the Trojan War as well as those surrounding Agamemnon, Cassandra and Clytemnestra.

CULTURAL CONTEXTS

Culture refers to a particular ‘way of life’, involving religion, race and nationality, as well as things like food, dress code and manners. Furthermore, culture can relate to art, music, writing and literature itself. Cultural context, which is similarly linked with social, historical and ideological context, is especially important to note if the author is attempting to make a comment on an aspect of culture, or the clash of two cultures.

Cross cultural contact between an Indigenous tribe in Western Australia, and the British colonizers of this land, is explored by Kim Scott in his novel That Deadman Dance. He reveals aspects of culture largely unknown to current members of Australian society, as well as explores whether assimilation can be seen as a harmonious sign of friendship, or an intrusive loss of culture. The evolution, damage and protection of culture is an important context in this novel, and has a large bearing on the overall meaning of the text, as well as Scott’s views and values.

IDEOLOGICAL CONTEXTS

Ideology refers to the systems of beliefs and ideas that underpin our attitudes and behavior. Such ideology may be valued by society as a whole, or be the basis of conflict. Ideology is a context that is in many ways ‘invisible’. This is because our own is largely internalized and normalized, we act accordingly to our assumptions and social norms.

Many texts explore ideological context, either challenging or championing it. In his play Who’s Afraid of Virginia Woolf? Edward Albee challenged perceptions at the time of the family unit, portraying a couple that symbolizes the immense dissatisfaction caused by idealistic portrayals of marriage, and the fallacies of the American Dream. He illuminates how George and Martha escape from meaningless by creating fantasies and illusions, but how these eventually lead to the breakdown of their mental health.

So next time you’re struggling to get started on a literature piece, remember to think deeply about the different aspects of your text’s context!

1. What are Literary Perspectives?

2. What are you expected to cover? (Literary Perspectives criteria)

3. Approaching the Task

4. SACs, Exams, and Allocated Marks

5. How to Prepare/Improve?

What are Literary Perspectives?

This is the task that takes the longest time for all lit students to wrap their heads around. Not only is it difficult to understand what a literary perspective is but also what the essay requires you to do, so hopefully this article can help clear it all up for you!

Put simply, literary perspectives are various different lenses used for looking at all texts. Different lenses reveal, highlight and emphasise different notions in each text. To take a simple example, a Marxist might look at ‘The Great Gatsby’ how our capitalistic system underscores the motivations of Gatsby? A feminist might look towards the role of women in the text; are they only supporting characters, or do they challenge traditional gender roles? Perhaps an experienced literature student might think this is an oversimplification, but it’s a good way to start thinking about perspectives. We will explore a little more of how to integrate and research different literary perspectives in our ‘Approaching the Task’ section.

In short, literary perspectives wants you to consider:

How does a text change, to the reader and the writer, when we examine it through different backgrounds/perspectives?
Can we understand the assumptions and ideas about the views and values of the text?

What are you expected to cover/do? (Literary Perspectives Criteria)

1. Structure and Cohesion

The structure of the essay and the task itself is more familiar than the close analysis essay. You respond to a topic (yes, there is only one) and you have a more “typical” essay structure with an introduction, three body paragraphs and a conclusion.

Cohesion comes from how well you can develop your overall argument. The way I like to think about it is: do my paragraphs build/relate to each other or do they have nothing to do with each other? Providing a cohesive argument and interpretation is essential, and not just for literature, this is something that will definitely be enhanced as you continue your literature journey!

2. Develop an overall Interpretation/perspective for each text

This requires a lot of research and critical readings of the wealth of criticism around the text. When you read the text, a few notable themes and ideas should be jumping out at you right away, this will be the springboard into understanding the perspectives around the text.

For example, in ‘The Great Gatsby’, Gatsby and Buchanan are greedy and money-hungry in a world of excess and economic prosperity. Fitzgerald asks readers to consider the backbone that drives a blind devotion to the accumulation of wealth. This should remind you of Karl Marx and his comments on capitalism and communism which will then open up a large wealth of research on Marxism!

Remember, that whilst VCAA specifies that one must analyse and respond to one underlying literary perspective of the text in Section A of the exam, this isn’t as narrow as you might think. So I lied a little, sunglasses as perspectives might be a bit misleading. Because whilst you can’t wear multiple sunglasses, you can have multiple interpretations that form one perspective. It’s important to remember that what constitutes a perspective is not just one school of thought, it is your understanding, perspective and ideas. Which means that if you want to blend a Marxist and Psychoanalytic perspective, you absolutely can, BUT you need to make sure they are incorporated well together. This is because perspectives and literary ideas don’t exist in a vacuum, they work together, bounce off each other and grow over time. Greed could be something that is perpetuated by a capitalistic, market centered system but it could also be something ingrained in the human psyche. See! You’ve now turned two perspectives into one blended idea, of course it needs a lot of cultivation but you can see how these ideas begin to coexist.

Furthermore, if you begin to understand how your text through multiple coexisting lenses’, you’ll broaden your horizon so you’ll be ready to approach any topic. In 2017, VCAA gave the topic: “To what extent is Conrad’s Heart of Darkness an indictment of colonialism?”. What happens if you didn’t choose colonialism/post-colonialism as your perspective and chose feminism instead? You would probably be freaking out in the exam. But if you understood that colonialism was motivated by the need for economic dominance (Marxist ideas) or the West’s hunger for power (psychoanalytical notions), the topic isn’t so daunting after all.

In sum, developing an interpretation is a rocky, complex and difficult ride but have patience, it will all pay off in the end. Stick around and we will give you a few tips below on how to interpret and continue to develop your interpretation! PS. Here’s a video that might be helpful if you need the extra advice: What are literary perspectives .

3. Understanding and analysis of the text through textual evidence

This should be self-explanatory at this point; everyone has been taught this since year 7: never say anything if you can’t back it up! It’s easy to get lost in your perspective when your writing, this is just a gentle reminder to never forget to use quotes and actual evidence from the text. Here’s a helpful video on how to incorporate quotes.

4. Control and effectiveness of language

Having control and effective use of language is a criteria present in both sections of Literature (and in English)! I won’t go into too much depth, but this video provides 6 great tips on improving your expression!

Approaching the Task

So how do you best tackle the exam and the SAC?

Aforementioned, the exam will only give you one topic to respond to and your SACs will do something similar (we’ll get into this later). Here are some tips on handling lit perspectives on the exam and SAC.

When you first see the topic, there are a few things you can do to help approach the task.

1. Highlight key words!

Again, pretty self-explanatory. It absolutely essential that you respond to the whole topic. It’s so easy to get caught up in the first half of the topic when you see a key word that you like/don’t like. But pay attention to what the topic is actually asking you to do, not just the central theme/idea that is contained within the topic.

Find all the key close textual examples that you’d like to use. Make sure to choose ones that enhance your overall interpretation. Remember, that just because it isn’t a close analysis essay doesn’t mean you shouldn’t include close textual examples.

Planning is a very individual task so it’s up to you to find out what works for you, but it is an essential part of the writing process. If you want a coherent interpretation, you need to know where you’re going as you write. If you fail to plan, you plan to fail!

3. Develop/Establish your interpretation in your introduction

By now, you know the importance of establishing a strong interpretation of your text. This needs to be established in your introduction (and that includes all the buzzwords of your interpretation).

What I mean is, a lot of perspectives have a lot of jargon that is not always easy to read… Part of your job in your introduction is precisely to clarify some of these key jargons, it does not have to be super detailed, just give a simple definition of some of the key terms you are working with.

SACs, Exams, and Allocated Marks

This SAC comprises 50% of Unit 4 and in my opinion, was the most difficult to wrap my head around. The breakdown is as follows:

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To simplify, it’s essentially like the literary perspective essay in the final exam; however, you need to “compare and analyse two pieces of literary criticism reflecting different perspectives”. Remember how I mentioned that one perspective can be a mix and blend of two different perspectives? Well this SAC is trying to teach you just that. You’ll be tasked with finding two different perspectives, but that doesn’t mean they have to be opposing at all. The example from before: “Greed could be something that is perpetuated by a capitalistic, market centered system but it could also be something ingrained in the human psyche” is just one way in which you can take two different pieces of literary criticism reflecting different ideas and bring them together in this SAC.

This SAC also asks you to research rigorously the literary discourse around the text, so that will be your first starting point. Find what you want to talk about and then figure out how to talk about it!

This may be classified as ‘Section A’ on the exam, but it does not have to be completed first, this is up to you! Each essay in the exam is worth 20 marks and will be double marked. The score that each examiner gives you will be added together, so both your final essays will be out of 40.

How to Prepare (and Improve!) for your Close Analysis SAC and Exam

Everyone’s heard the phrase “practice makes perfect”, but nobody really tells you how to practice? What does practicing mean in a Lit Perspectives context? Here are a few recommendations and guidelines about how to ACE your next lit perspectives essay:

1. Read and Re-read your text (or re-watch your film)

You’ll have heard this hundreds of times but it’s absolutely essential, who knows, you might change your mind? Meanwhile you can find good quotes you like and potentially spot techniques or language devices you might have missed on the first or even second read!

Each time you re-read, go in with fresh ideas and perspectives and search for examples that either contradict or support your interpretation. Critical reading is what us lit kids do!

2. Find buzzwords for your text or your perspective

Aforementioned, jargon and buzzwords populate the modern literature discourse for any text and perspective. It’s important that you have a firm grasp of these words and phrases. Here are some examples of a few:

Communism/capitalism
Superstructure
Institutions

Psychoanalysis:

The unconscious
ID, ego and superego

3. Talk to your friends and teachers, bounce ideas off each other!!!

Two minds are better than one. Not revolutionary, but unequivocally true. Whenever you are stuck in a rut, talk to your friends about what you think and maybe they can help challenge your ideas. Don’t be afraid to argue your point and be open to criticism, challenging your ideas will only help refine and enhance it. It’ll also make you consider some ideas you might not have thought about it.

4. Write specific examples

This is the same advice for close analysis (and any other essay for that essays). Practice writing doesn’t mean you have to write a full essay every time, this can be both draining for you and your teacher to mark. Plus, most of the time, you’ll make the same mistakes/the feedback will be same throughout the entire essay. Try little snippets of examples, paragraphs or introductions instead.

5. Utilise all available resources

Teachers are a hub of intelligence, ask them for questions, advice and feedback. Have a look at online resources including critical articles on your texts (not just lit charts articles). There are a bunch of different articles linked throughout this article but here are a summary of a few more articles written by some very smart LSG tutors!

Breaking down the VCE Literature Exam Criteria

Common Mistakes in VCE Literature

The Dont's of VCE Literature

The idea of critical lenses in literary perspective essays can often be tough to fully grasp. Is sticking to just one ok? Are there enough examples in the text to support a purely feminist viewpoint? Or a Marxist one? What about post-colonialism? Sometimes it’s difficult to find a clear through line, especially when the concepts you’re attempting to discuss are so complex.

Luckily when it comes to Shakespearean texts, Twelfth Night in particular, a lot of people throughout history have already studied these ideas and critical lenses, and there are many more resources out there for you to utilize than you might think.

Thus, we are faced with the extremely helpful nature of published critical readings. These critical essays are pieces often published by university professors or scholars which offer an in-depth analysis and examination of a given text. While much of the language is complicated and a bit overwrought at times, the content within the essays can give you helpful ideas and can help you gather a repertoire of vocabulary and evidence for your own literary perspectives essay. In fact, if you type in “Twelfth Night critical readings” into your google search tab, there will be pages of valuable content at your disposal.

Literary perspectives

For instance, the critical essay Rethinking Sexuality and Class in Twelfth Night by Nancy Lindhiem, gives insight into both the Marxist and the queer lens.

Here is an extract from Lindhiem’s reading in which she discusses the idea of “androgyny” and sexuality (noted specifically in the bolded words):

“While Viola is barely male except in attire, the dual aspect of Sebastian’s androgyny is carefully explored. The Elizabethan audience’s first, external, impression – he looks like his sister! – is reinforced ‘internally’ in his conversation with Antonio. His exquisite sensitivity to the quality of his friend’s feelings and the obligation it lays upon him might well be seen as a woman’s trait. ”

After reading Lindhiem’s discussion of the “androgynous” twins within the play and how this displays a disparity between gender identity, this student then decided to expand on in a similar idea in a part of their paragraph below (queer lens). In the first part of the sentence, the student outlines the idea of androgyny (shown in bold) specific to the character of Viola. Later on, the student also explores the idea of different behaviours contributing to certain gender traits much like Lindhiem’s notation of it in the above paragraph (shown in bold in the last sentence), however concludes on a broader outline of sexuality as a whole, rather than focussing on just female traits.

Viola’s mediatory role between Olivia and Orsino’s households, coupled with her androgynous performance as a woman playing a man (adding further confusion to the Elizabethan stage convention of a male actors playing women on stage) evokes a form of genderbending and identity perplexity that pervades the play’s dramatic trajectory and opens up what is possible, if not overtly permissible, on a spectrum of sexuality.

Another way of making use of these critical readings is to draw from some of their sophisticated vocabulary. The following is an example of how a student was able to adjust and expand her vocabulary specific to their chosen lens by reading critical essays.

After studying a couple of feminist and queer critical essays to Twelfth Night , the student highlighted some repetitive language and terms used within the essays, and was able to use them within their own essay.

Casey Charles’ Theatre Journal exert Gender Trouble in Twelfth Night uses the phrasing

“ the phenomenon of love itself operates as a mechanism that destabilizes gender binarism and its concomitant hierarchies”.

The student went on to use the term gender binarism in one of her essay’s sentences:

In all, Twelfth Night delineates the true fluidity within gender binarisms as well as the way in which societal structures are enforced and reiterated…

Alternatively, the critical essay Gender Ambiguity and Desire in Twelfth Night by Maria Del Rosario Arias Doblas makes use of the terms “homoerotic” and “heterosexual” throughout its text - “homoeroticism residing in theatrical transvestitism… and homosexual allusions and so on pervade the play to create the “most highly intricate misunderstandings”’ - thus outlining the type of high-level language specific to a queer reading of the play that the student was able to implement in their own work:

In fact, Shakespeare oscillates between reinforcing patriarchal ideology and heterosexual language, and the deconstruction of such romantic ideals, simultaneously closeting and disclosing the queer possibilities typical to conservative societies that use violence to repress homosociality and police the safe expression of homosexual exploration within heterosexual norms.

As you can see, the student’s language is now specified to the type of lens they are using in their literary perspectives essay, and is also of a high register.

External or Contextual references

Another benefit of going through critical readings is the external or contextual references they make. An example of this is in Rethinking Sexuality and Class in Twelfth Night by Nancy Lindhiem, where the author makes reference to Narcissus, a character from Metamorphoses – a Latin narrative poem from 8 AD:

“For all the likelihood that both Olivia and Sebastian are seduced by a visual perception, we probably feel that Olivia succumbs mainly to Cesario’s way with words.9 Several critics have commented on the allusion to Ovid’s Echo in Cesario’s ‘babbling gossip of the air’ (1.5.277)”

Noticing this reference as a motif in many other critical readings too, this student decided to insert it into their own essay here:

These central relationships therefore reapply the idea of self-reflexivity while blurring the structured boundaries of identity stability, central to the Narcissus myth of which Echo from Ovid’s Metamorphosis forms a part ; “a very echo to the seat/ where love is throned” invokes a doubling motif, as well as the troubling foundation of representation over reality.

See how the student was able to discuss it in their own way? Referencing external texts in your literary perspectives essay can prove very useful if done once or twice, as it demonstrates that you are able to apply the values within the chosen text to wider elements of society and culture.

Getting started

One of the most efficient ways of going through these sorts of essays (which are often quite elaborate and at times difficult to understand fully) is to print them out, grab a highlighter and pen and skim through as much as possible. Highlight words, terms or phrases which spark your intrigue, or ones you feel you may be able to manipulate as evidence to support your own essay.

Overall, reading as many of these expert-written critical essays as possible can be extremely beneficial in developing a greater understanding of the critical lenses, the ideals and context of the Elizabethan theatre, and the way both dialogue and staging can be used as evidence in your own essays.

The more you know about the play, the more you’ll be able to write about it. So, get reading!

Links to the readings:

Rethinking Sexuality and Class in Twelfth Night, Nancy Lindheim

Gender Ambiguity and Desire in Twelfth Night, Maria Del Rosario Arias Doblas ‍

Gender Trouble in Twelfth Night, Casey Charles

1. Don't focus just on ideas and avoid language engagement.

Language engagement is every bit as important as ideas. Sometimes, when you get stuck in philosophical musings, you might find yourself in a place where you're spouting on and on about solipsism or the intrinsic desire for independence in the 19th century Norwegian working class. Literature essays are all about finding balance, and here, that balance means language engagement. Whether you are writing about literary criticism or a passage analysis, you have to be able to support your interpretations with textual evidence.

Often, this requires some creative thinking. You can have a lot of fun with it and the examiners like you to pick up on small details and connect it to a grander scope.

Here's an example from Jane Eyre.

“my eyes seemed as if they had beheld the fount of fruition, and borrowed beams from the lustrous ripple.”

“I was not surprised...to feel...the breathing of a fresh and fragrant breeze...The rooks cawed, and blither birds sang; but nothing was so merry or so musical as my own rejoicing heart.”

In this passage, Jane is rejoicing over her marriage proposal, but readers are led to understand that this may be a false, idealistic dream of hers. Note the patterns of alliteration – the fricative 'f' shifting to the plosive 'b' in “fount of fruition” and “borrowed beams” then again from “fresh and fragrant breeze” to “blither birds”. What could it possibly mean?

Fricatives tend to indicate freedom, whereas plosives tend to indicate an abruptness – a harsh change. Perhaps, Jane's wild, free joy is immediately followed by plosive alliteration so as to illustrate how her happiness is cut short and her dream is a false one – she will attempt to achieve freedom through this romance, but she will be abruptly and unceremoniously prevented from attaining it.

Regardless, in any passage, there are always things to talk about and little language quirks to exploit to figure out an interpretation. Start from these little details, and build out and out until you tackle your big ideas. All of these ideas should be rooted in language.

2. Don't prioritise complicated language over ideas.

Often, when you think that expressive, complicated writing takes priority over ideas in Literature, you tend to end up with flowery material that becomes more convoluted than it is effective. If you are one of those people (I know it's hard) but kill your darlings. Focus on coming up with original ideas, and express them clearly. Cut out redundancies. Be expressive in a way that is natural and in a way where you know that first and foremost, your language is accurate. Don't go around using metaphors purely for the sake of sounding intellectual when you can express something equally eloquently and beautifully with simpler, fluent text.

Remember: this is not to say that you shouldn't be expressive in Literature. In fact, writing style and the ability to write well is a fundamental component to doing well in this subject. It is just vital that you strike the right balance. This is a good lesson to learn sooner rather than later - and you'll be steering into prime territory for the exam.

3. Don't treat Literature like an English essay. Be free!

Good Literature essays generally tend to be more lively and expressive than English essays. Why? Because Literature just doesn't operate under the same criteria, and it shouldn't be treated as such.

Don't feel like putting in an introduction/conclusion? No need! Don't feel like sticking to a TEEL structure? No problem!

Your focus is creating writing that moves along at a natural, expressive pace, moving through textual evidence to broader ideas. You don't have a structure. You don't have a paragraph quota. You have free reign over a lot of how you write your Literature essays – so find out what works for you.

4. Come up with original interpretations and don't stick with popular readings.

Literature is one of very few subjects in the entirety of VCE that rewards original thinking. You don't need to go with the crowd consensus on how to read your text: as long as you have the evidence to support your reading! The examiners will reward complex, creative, and unique ideas. Every passage analysis you write should be approached with a fresh perspective – base your interpretation around the text in front of you, and not a dogmatic set of ideas that you bring with you.

5. Let the text before you provide you with the ideas, don't force your ideas into the text.

By reading literary criticism and expanding the scope of your ideas, you can apply original readings to each set of passages you have. Your essays stand out when they cover new, uncharted territory.

Literature is all about balance. If you can find it in you to balance language engagement, interpretation, and writing style, I'd say you have yourself a pretty good essay.

Remember not to fall into any of the common traps of the subject, and you'll have put yourself on solid footing to become a true literati.

This blog is part of a series of blogs breaking down the 2023-2027 VCE Literature Study design. For in-depth takes on the study design and the new AoS (Developing Interpretations) check out The Ultimate Guide to VCE Literature and A Guide to Developing Interpretations .

Here, we’ll take a deep look into the SAC for Unit 3.2: Developing Interpretations. We’ll be using Margaret Atwood’s 1996 Alias Grace to demonstrate parts A and B of the SAC criteria so you can see the thinking process behind developing interpretations.

‍ The SAC has two parts:

Your teacher may decide to do them in two separate SACs, Part A after considering the text, and Part B after considering the supplementary reading. Or they may do them together, having you analyse a passage and answer a question just based on your own understanding of the text, and then continuing that analysis by adding the supplementary reading.

Understanding Context

Part A of the Developing Interpretations SAC task involves the text’s 'historical, social and cultural context’, so it is imperative we have an understanding of firstly, the author and their world, and the text and its world.

‍ Alias Grace was published in 1996, close enough to our modern times that we can consider it contemporary literature. On the surface, there is not much to link it directly to the big global events of the 1990s - like the Gulf Wars, the Monica Lewinsky scandal or the uncertainty of the new millennium. Margaret Atwood is Canadian, and the events of Alias Grace also take place in Canada; any criticism of government or cultural issues in the text can then be considered criticisms of Canadian culture, but may also be of Western or Anglo societies at large. It’s also worth keeping in mind Atwood’s track record as a feminist activist who became famous for the feminist intentions in texts like The Handmaid’s Tale (1985) and Cat’s Eye (1988).

The world of Alias Grace is about 150 years prior to the text’s publication. The murder that put Grace in prison occurred in 1843, and Grace died sometime around 1873. Feminism as a socio-political movement did not exist at this time, so any ‘feminist bent’ that Grace or Mary Whitney display is the result of independent dissatisfaction, not the influence of wider cultural forces. The role of psychology is strong in Alias Grace and in the afterword, Atwood notes the increasing academic interest in the mind and subconscious. Whilst we could venture into the specific who’s who of 1850s new world psychological history, it is most important to recognise that there were disparate ideas of how memory is formed and recalled, and that defiant or mentally ill women were often stigmatised and categorised as 'insane', when we would now acknowledge the range of mental health diagnoses and traumatic backgrounds that would better explain certain behaviours. Note also that mental health institutions were tools of a patriarchal system that viewed the internment of women as a means of control over women, regardless of mental illness, leading to the regular and indiscriminate use of procedures like lobotomy or Electro-Convulsive Therapy (ECT) to keep women 'in check'.

Part A of the SAC: An Initial Interpretation

When forming an interpretation of the text, it is necessary to first decide two things. Firstly, you need to recognise the author’s intention and what you think are the primary views and values . Then, you need to find aspects of the text that support your understanding of the text’s primary meaning.

Of all the concepts and ideas in Alias Grace , two are particularly pertinent and stick out to me as a reader. One is memory , the other is sexuality . There are of course other ideas, but these two were the big ones I noted reading the text. Thinking about what you find interesting or core to the text will help you to form an initial interpretation. Once you have the initial ideas, try to expand them into full sentences. To use memory as our example:

‍ Atwood explores the fallibility and role of memory in our understandings of ourselves and our actions, in particular, noting how people subconsciously decide which memories to keep or forget.

See how meaty this sentence is? Even if I can’t quite touch on all of these ideas in a full essay, I have so much I can talk about that it basically makes it impossible to fall short. Now, I want some aspects of the text that help provide through-lines. By this, I mean that I want a smaller part of the text that helps to exemplify my interpretation and that, preferably, would be evident in a passage analysis. I’m someone who finds structure really interesting in texts, so I look at things like form, genre and plot very closely. Alias Grace is really interesting for its use of ‘primary source’ quotes at the start of sections, as well as the fact it has basically no quotation marks to delineate dialogue. Moreover, the fact that Grace’s narration is first-person and that Jordan’s narration is third-person provides ripe territory for analysis. I need to link this to memory, and put it in a sentence:

‍ Atwood’s use of Grace’s first-person narration without quoted dialogue, thus structuring the plot around her speech and remembering, provides a long-form case study in how the psychological process of remembering helps provide understandings of the self.

So, just based on my understanding of the context (1850s psychology and its impact on women) and the world of the text, I am able to determine my initial interpretation: that Alias Grace is about memory and forgetting in the face of trauma and an indeterminate sense of self. This idea is displayed in the structure of the text which relies heavily on displaying thought processes.

Part B of the SAC: The Supplementary Reading

The supplementary reading can be a number of pieces of writing given to you by your teacher. This could be something written by your teacher, an explainer of a literary theory (like Marxism or feminism), or as I’ll be using here, an academic article. Check out our blog on Developing Interpretations which goes into how to read academic articles.

The article I’ve chosen is Margaret Rogerson’s ‘Reading the Patchworks in Alias Grace’ (1998). At the core of Rogerson’s argument is that the recurring motif of sewing and patchwork is a significant indicator of Grace’s identity and her self-expression and that Atwood uses the symbolism of various quilting patterns to reflect the ambiguity of Grace’s character and our understanding of her (since quilting symbols are heavily subjective). Just based on this brief summary of Rogerson’s interpretation, we can start to see how it is somewhat at odds with my initial interpretation (from Part A) - Rogerson isn’t as concerned with memory and psychology, nor am I concerned with symbolism because I focus on structures and narrative.

Rogerson’s article doesn’t necessarily disagree with my interpretation, in fact, both exist alongside each other quite nicely. I would phrase Rogerson’s interpretation as 'running parallel' to my own because they don’t always touch on the same ideas. Recognising where the supplementary reading sits in relation to your own interpretation is important because it helps to break down how to respond to its position and enhance your own interpretation. Try to place it on a scale of ‘total disagreement’ to ‘total agreement’. It will probably be somewhere in the middle.

Self-Reflection and Reinterpretation

Now that I’ve read my supplementary reading and placed it in relation to my initial interpretation, I need to ask myself a few questions, and be honest with myself:

What new information have I learnt from the reading?
What ideas/themes/motifs did I initially ignore?
How do these new ideas and pieces of information challenge my interpretation?
How do these new ideas and pieces of information support my interpretation?
Can I find links between the seemingly challenging aspects of the reading and link them to my initial interpretation?
Can I link specific aspects of my initial interpretation to the theories and ideas presented in the supplementary reading?

Rogerson’s article contained a lot of ideas and information that I had previously glossed over. Significantly, I learnt that 'quilt patterns [...] appear with their names as section headings throughout the text' (p. 8), a theme I hadn’t noticed. Moreover, Rogerson explains the literary and political significance of quilting and patchwork symbolism, drawing attention to the role it played in women’s lives and the inaccessibility of this symbolism to men.

Do these new ideas challenge my interpretation? Not really. Do they fully support my interpretation? Not really, BUT, they do provide a new way of thinking about my initial interpretation. I can link the quilting symbolism to the idea of Grace’s narrative style because Rogerson emphasises that when Grace discusses quilting, she is discussing her own life. In addition, Rogerson notes that 'sections of the novel [are] separate patterns that are to be fitted into a whole quilt' (p. 8) so that 'the reader becomes a quilt maker in the process of interpreting the text' (p.9). The concept of the physical book being a ‘quilt’ supports and extends on my understanding of structure, thus allowing me to further investigate how that structure functions.

The notion of the reader as a ‘quilt maker’ interpreting the text also allows me to consider something else I have ignored in my initial interpretation: self-presentation. I initially took for granted Grace’s investigation into her own mind, and that her novel-length yarn reflects the burgeoning field of psychology. Rogerson emphasises through the quilting work, however, that Grace’s motivations are entirely ambiguous to Jordan, the reader and others, so we have to try to decide if she is actually remembering events, or simply telling a story. At the end of the text, Grace makes her own quilt using cloth given to her or taken from the women of her past, Rogerson posing the question 'does the quilt represent memory, amnesia, or madness?' (p. 21). The result, therefore, is that my initial interpretation does make sense, but with some important new additions to be made.

‍ Atwood’s Alias Grace investigates how individuals relate to their memories through the use of Grace Marks’ speech and interactions with medical psychology, which intend to force her to remember (1). This process of remembering, however, is simultaneously hindered and deepened by Grace’s presentation of self, which wonders into utter performativity, amnesia, and potentially disingenuous motivations for her continued speech (2). Rogerson emphasises Grace’s relationship with the language of patchwork and how this relationship influences her narrative style and remembering, and thus the reader’s ability to fit separate patterns 'into a whole quilt' (p. 8) (3).

This interpretation is significantly more chunky, but that’s because I’m trying to make the nuance of the argument incredibly clear. The first sentence (1) is a reworded version of my initial interpretation with slightly less detail. The second sentence (2) is an elaboration of my previous interpretation that includes ideas gleaned from Rogerson’s article. The final sentence (3) is a brief summary of Rogerson’s method that introduces her work as well as some extra details about Grace’s story-telling and the analysis of readers’ responses.

The key to developing interpretations is self-reflection. Constantly question why you think the things you do, and it will force you to reconsider your interpretation. The supplementary reading is to provide you with a way to self-reflect and another interpretation to respond to. I strongly encourage those looking to do exceptionally in developing interpretations to read widely and around the text you’ve been set. Some of those texts for Alias Grace are in the resources section below.

Further Resources

Rogerson, Margaret. ‘Reading the Patchworks in Alias Grace’ The Journal of Commonwealth Literature 33 (1998): 5-22. https://doi.org/10.1177/002200949803300102

The Ultimate Guide to VCE Literature

VCE Literature Study Design (2023-2027): A Guide to Developing Interpretations

For Alias Grace

Margaret Atwood’s other texts including: Cat’s Eye , The Handmaid’s Tale , and Oryx and Crake.

Glaspell, Susan. Trifles . 1916. Available here. ‍ A play cited in Rogerson’s article, featuring an accused murderess and a quilt. Sound familiar?

Freud, Sigmund. The Interpretation of Dreams . 1899. Available Via Gutenburg ‍ A very dense text on the psychoanalysis of dreams. Useful for its discussions of symbolism as a signifier of psychology

‍ Atwood cites a number of texts in her acknowledgements (p. 543), the most interesting appear as follows:

Moodie, Susanna. Life in the Clearings . 1853

Crabtree, Adam. From Mesmer to Freud: Magnetic Sleep and the Roots of Psychological Healing . 1993.

Brandon, Ruth. The Passion for the Occult in the Nineteenth and Twentieth Centuries . 1983.

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When You Write

From Summary to Insight: A Guide to Writing Commentary Essays with Depth

Writing an essay can be daunting, let alone if you’re also providing commentary on it. But the reward of a job well done is worth the effort when you’re finished!

It has been noted that essays with thoughtful commentaries have a higher chance of being accepted for publication. So I’m here to help make it clear that essay writers need to understand the power of commentary and how to incorporate it into their work.

In this article, I’ll share my experience as a writer and provide insight on how to make your voice heard in an essay by using effective commentary. By following my advice, you’ll be able to craft a piece that stands out from the crowd and makes your thoughts shine through!

What Is Commentary In An Essay?

Over the course of your writing, you may have heard of the term ‘commentary’ in relation to essay writing. But what does it mean?

Simply put, commentary is analysis. It’s when you take a text and try to identify the deeper implications at play. In literary texts this could be symbolism, metaphors or dual meanings; with non-fiction texts it could include examining how an author makes use of evidence and arguments to support their position.

Writing a commentary essay requires close reading skills and the ability to interpret a wide range of information. It also requires you to think critically about how ideas are connected and draw conclusions about why certain elements are included in the text.

Commentary is an essential part of any essay because it allows your reader – who may not be as familiar with the text as you – to understand why you have drawn certain conclusions based on your interpretation.

It’s like giving them a guided tour through your thoughts and ideas so they can explore what makes your argument unique and interesting. Commentary also enables you to make connections between different aspects of the text that might not be obvious on first glance, helping bring out its significance even further.

By using commentary effectively, you can write an engaging essay that really gets your point across clearly.

The Significance Of Commentary In Essay Writing

Writing commentary in an essay can be a powerful tool for communicating ideas and arguments. It is essential to engage in critical thinking, interpretation, and analysis when writing commentary. Writing effective commentary requires the ability to construct a well-developed argument that supports the main point of the essay.

Here are 4 key elements of effective commentary:

A clear thesis statement
Relevant evidence that supports the argument
Interpretation and analysis of the evidence
A conclusion that summarizes the argument

Commentaries should be written with an engaging style that encourages readers to think critically about the topic at hand. Good literary commentary should be accessible, yet thought-provoking; it should both inform and entertain the audience. Additionally, it should challenge preconceived notions about a subject and provide an insightful perspective on why something matters or how it affects our lives.

In order to write effectively, one must first understand their audience and what they hope to communicate through their words. With this knowledge in mind, one can craft a compelling commentary that offers fresh insight into any given topic.

Transitioning seamlessly into the next section…

Key Elements Of Effective Commentary

Like the rising sun that signals a new day, effective commentary can offer a fresh perspective to an essay. With the right words and emphasis, it can engage readers in an entirely new way and bring them closer to understanding your argument.

Like a shimmering beacon of light, it has the power to grab their attention and draw them into your ideas.

Commentary does more than just summarize facts or provide background information – it also evaluates, interprets, and analyses information.

It’s an opportunity for you to delve into the heart of what you’re writing about, offering insight into its significance and exploring potential implications. By taking this approach, you can evaluate the importance of each point and develop your thesis with greater clarity.

Through thoughtful commentary, you can make connections between ideas that your readers may not have previously considered and help them reach their own conclusions about your argument.

Strategies For Writing Potent Commentary In Essays

Writing potent commentary in essays is essential to making a successful argument and gaining the reader’s interest. Here are four strategies that can help you write a good essay commentary:

Develop a strong thesis statement

A thesis statement serves as the core of your essay, and it should be explicit, engaging and supportable by evidence. It should also be concise so that readers can understand your main message immediately.

Understand the topic better

Spend some time researching the topic before you start writing to ensure you have a thorough understanding of it. This will give your commentary more depth and clarity.

Body And Paragraphs Organized

Make sure your body paragraphs are organized logically and clearly explain how your points relate to the overall theme or argument of your essay.

Each paragraph should have a single purpose, and make sure that all sentences within each paragraph work together to support that purpose.

Use literary analysis

When writing your commentary you can draw on elements like tone, imagery, diction, and syntax to make your argument more persuasive and compelling for readers. This will also help them better understand what you’re trying to communicate in your essay.

By incorporating these strategies into your essay writing process, you can create powerful commentary that effectively supports your argument and engages readers with meaningful insight into the text or topic at hand. With these tips in mind, let’s look at how to use quotations and examples in commentary to further enrich our arguments!

The Use Of Quotations And Examples In Commentary

Now that we’ve discussed strategies for writing powerful commentary in essays, let’s explore the use of quotations and examples when constructing these sentences.

Quotations and examples are essential for making strong commentary sentences that support an argument or analysis. When used correctly, they can be a great way to illustrate a point and add interest and texture to your argument.

When including a quotation in your commentary, it is important to make sure it is properly attributed. You should include both the author’s name and the source from which the quote was taken. This not only strengthens your argument by adding credibility, but it also shows you have done your research.

Examples are also effective for proving a point or introducing a new concept. They help to break up longer paragraphs, explain difficult concepts in more detail, and provide evidence or substantiation for an idea or opinion. When using examples in commentary sentences, it is important that they are relevant to the topic at hand and accurately represent what you are attempting to say in your essay.

With this information in mind, let’s move on to examining types of commentary in essays; comprehending the contrasts.

Types Of Commentary In Essays: Comprehending The Contrasts

As a student writing a commentary essay, it is important to understand the differences between analyzing, summarizing, and evaluating. To help comprehend these contrasts, let’s take a look at four main points:

1. Analyzing – Looking closely at something and breaking it down into smaller parts to better understand it.

2. Summarizing – Taking the information from a larger group of data and boiling it down into its key elements.

3. Relating – Exploring how two or more ideas are connected and how they affect each other.

4. Evaluating – Examining different aspects of an issue or argument and determining its worth or value by expressing an opinion about it.

Using these four points as a framework for writing your commentary essays can help you to be more effective in your analysis, summary and evaluation of any given topic.

Furthermore, this knowledge will also serve you well when crafting strategies for writing literary essays that contain thoughtful commentary elements.

With this in mind, let us now turn our attention to creating such strategies…

Strategies For Writing Commentary In Literary Essays

Having discussed the differences between types of commentary, let’s now turn to strategies for writing effective commentary in literary essays.

When it comes to providing commentary, it is important to understand that you are making a statement about something; whether it be an interpretation or opinion, you need to make a clear statement.

You should also comment on any phrases or passages that have stood out and explain why they are significant.

It is also important to identify the underlying message of the text. This means going beyond surface-level analysis and delving into the deeper meaning of the work.

To do this, think about what is not being said as much as what is being said.

Make sure your comments add depth to your analysis and provide new insights for your readers.

Finally, take care when constructing your sentences so that your points come across clearly and convincingly.

Writing Commentary For Convincing Essays

I’m sure you’re excited to finally get started on writing your commentary for a convincing essay! It can be intimidating to write about something without knowing what type of essay you’re working on. But if you take the time to read through the assignment and passage, you’ll have a much better idea of what you need to write.

When it comes to writing your commentary, try not to worry too much about “sounding smart” or “having all the right answers.” Instead, focus on writing like yourself—in your own voice, with your own ideas. The more authentic and engaging your writing is, the more persuasive it will be to readers.

So don’t be afraid to express yourself—you may just surprise yourself with how creative and interesting your thoughts can be! With that said, let’s move on to creating commentary that supports your thesis statement.

Creating Commentary That Supports Your Thesis Statement

As the saying goes, hindsight is 20/20. Looking back now, it’s clear that writing an effective commentary for a convincing essay requires some finesse and insight.

When starting to write, it’s important to have a good understanding of the topic you are discussing and to provide enough context for your audience to understand what you are discussing. Additionally, it helps to have an understanding of opposing viewpoints before you start writing so that you can avoid falling into common traps.

To create commentary that supports your thesis statement effectively, there are a few things you need to keep in mind:

1. Make sure your argument is sound and won’t be easily refuted by an opposing point of view.

2. Avoid introducing new evidence or topics in your commentary; instead focus on the evidence already presented in the essay body.

3. Take the time to help explain why certain evidence matters and why readers should care about it.

The goal of commentary is not just to express an opinion but also provide meaningful analysis that will help prove or disprove a point of view. By being mindful of these considerations when writing, it is possible to create effective commentary that will help readers better understand your argument and its implications.

Common Mistakes To Avoid In Commentary Writing

I think one of the biggest mistakes I can make when writing a commentary essay is to overgeneralize my points. It’s important to provide specific examples and evidence to back up my opinion and avoid making sweeping conclusions.

Additionally, when writing a commentary essay, it’s also easy to forget to include evidence to support my argument. Making sure to include evidence will make my piece of writing much more convincing and credible.

Avoiding Overgeneralization

When writing a commentary essay, it’s important to avoid overgeneralizing your topic.

Sure, it may be tempting to make sweeping statements about the issue at hand, but this won’t do justice to your argument.

Instead, try to focus on concrete evidence and facts that back up your opinion.

For example, include statistics or subjective accounts from experts in the field.

This will ensure that you don’t come off as too biased or uninformed in your commentary.

By avoiding overgeneralization and being specific in your evidence, you can present a much more convincing argument and captivate readers with innovation.

Remember: always strive for accuracy when building an argument!

Lack Of Evidence

When it comes to commentary writing, one of the biggest mistakes people make is not having enough evidence to back up their argument. Without any supporting evidence, your argument can easily be dismissed as biased and uninformed.

This is especially true when discussing contentious topics like politics or religion. It’s important to remember that you’re usually assigned a commentary essay for a reason—so make sure you have enough facts and figures to give your readers an informed opinion. Otherwise, you may struggle to convince them of your point of view.

To make sure your argument stands out from the crowd, research extensively and use concrete evidence whenever possible. This will show that you’ve put in the effort and will help ensure a more innovative outcome for your audience.

Tips For Revising And Editing Commentary

Revising and editing your commentary is an important step in writing an essay. It helps to ensure that you are conveying the most accurate and persuasive message.

To do this, it’s important to read through your writing again and summarize any points that you noticed while reading. This will allow you to make sure that each point is clear and concise. As students need to be able to write effectively, it is also important to pay close attention to the language used throughout the essay.

Looking for words that could be replaced with more precise ones or focusing on certain aspects of literature can help bring life to a paper.

It is also essential to check for grammar, spelling, punctuation, and other errors before submitting the essay. Making sure all of these elements are correct can help enhance the paper’s overall quality.

Additionally, as you review your work, look for any areas where clarification may be necessary. Taking a second look at what you wrote will help ensure that the reader fully understands all of your points and implications.

By following these tips when revising and editing commentary in an essay, readers can gain a clearer understanding of the author’s intended message.

Examples Of Strong And Poor Commentary In Essays

A necessary part of writing an essay is the commentary. It’s the all-important part that allows for a deeper understanding of what is being written and allows the reader to get a fuller picture of the writer’s thoughts.

Unfortunately, not everyone understands the need to understand commentary. Many writers think they can simply paraphrase their sources without paying attention to how they are using irony or antithesis, missing out on valuable opportunities to add depth and complexity to their work.

Commentary should be used to engage readers in a way that speaks directly to their subconscious desire for innovation. It should be written in a personal tone of voice with contractions and an engaging style that will grab readers’ attention and make them want more.

If done correctly, it can bring new life and insight into an essay, allowing it to stand out from the rest.

Paragraph Construction With Commentary

In this section, I’m going to be talking about paragraph construction with commentary. As part of writing an essay, it is important to think about how you are going to use literary elements and techniques to convey your main idea or argument. I was always taught by my instructor that the way you structure your paragraphs can really make a difference in how effective your message is.

So, let’s take a look at some tips for constructing well-crafted paragraphs that provide an engaging commentary.

First of all, try not to write too long of a sentence as this can lead to confusion for the reader.

Secondly, make sure that each paragraph has one clear point that ties back into the main argument or idea you are trying to convey in your essay.

Finally, use transition words and phrases as needed throughout the essay so that readers can easily follow along with your discussion.

All these steps help ensure that readers understand and appreciate what you have written in your essay. With these tips in mind, let’s move on to discussing transition words and phrases for commentary.

Transition Words And Phrases For Commentary

In the world of higher education, commentary is a powerful tool that can bring literature to life in a way that no other piece can. It’s almost magical how one can take an otherwise mundane poem and turn it into something extraordinary with just a few words. Commentary has the ability to transform isolation into coherence in ways that are simply astounding!

Here is a 4-point list for successful commentary:

1. Read the text multiple times before writing any comments.

2. Take notes on what stands out most to you.

3. Use concrete examples from the text to better illustrate your points.

4. Be sure to engage with your audience in a way that encourages them to think more deeply about the subject matter at hand.

Commentary is an invaluable skill for anyone looking to make their mark on a piece of literature, so use it wisely and always strive for excellence! With this knowledge, we can now move on to exploring how to write a conclusion with commentary – do’s and don’ts included!

Writing A Conclusion With Commentary: Do’s And Don’ts

Now that you know the transition words and phrases for commentary, it’s time to learn how to write a conclusion with commentary. It can seem complicated, but it doesn’t have to be.

One of the most important things to remember is not to rely too heavily on your homework. Spending too much time memorizing facts and figures won’t help you in the long run when it comes to showcasing your opinion. Therefore, try to focus on critical thinking skills instead of wasting time studying for hours on end.

While two sentences are usually enough for a conclusion, make sure that each one packs a punch and is full of insight and analysis. Hone your skills by getting feedback from others so you can refine your writing and develop a style that resonates with any reader.

This can help ensure that your concluding remarks leave an impactful impression on those who read them.

Overall, effective commentary is essential for producing a successful essay.

Writing commentary allows you to demonstrate your understanding and personal thoughts on the topic and can really amplify your argument.

By incorporating examples, quotations, and other evidence into your commentary, you are able to bring life to your writing in a manner that will make it stand out from the crowd.

As an age-old proverb says, “A picture paints a thousand words”; similarly, strong commentary paints an even grander picture of your argument.

With these tips in mind, I look forward to seeing you all write some truly standout essays!

How to Write a Commentary That Engages and Persuades [GUIDE]

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Crafting a compelling commentary isn't just about offering an opinion. It's about weaving your insights into a narrative that engages and persuades your audience. Whether you're dissecting a piece of literature, analyzing a political event, or exploring societal trends, the key to writing effective commentary lies in not only what you say but how you say it.

You'll need to balance fact with personal perspective, all while maintaining clarity and depth. This might sound daunting, but don’t worry—once you grasp the basic structure and essential components of good commentary writing, you’ll find it both rewarding and impactful. Let’s dive into how you can master this artful form of expression, ensuring your voice is heard loud and clear.

Understanding the Basics of a Commentary

Understanding the basics of a commentary involves grasping its definition and recognizing the different types it can take. This foundation aids in crafting insightful narratives that effectively communicate your perspectives.

What Is a Commentary?

A commentary is an analytical or interpretive piece of writing where you express your thoughts on a subject. It combines objective facts with subjective analysis to provide deeper insights into the topic at hand. This form of writing often reviews or critiques events, literature, or policies and extends beyond mere description to influence or engage readers.

Types of Commentary

There are several distinct types of commentary, each serving unique purposes:

Literary Commentary: Focuses on analyzing texts such as books, poems, films, and other artworks. Literary commentaries discuss themes, characters, and plot developments.
Social Commentary: Examines societal issues like politics, culture, economics, and human rights. Writers use this format to critique social norms and advocate for changes.
Historical Commentary: Explores historical events or periods providing context and interpretation that help understand past occurrences' relevance today.

By identifying which type suits your needs best; you set the stage for engaging with your audience more effectively.

Preparing to Write a Commentary

Transitioning from understanding the different types of commentary, focus now shifts towards effectively preparing to write one. This stage is crucial for aligning your thoughts and research with the commentary’s objectives.

Choosing a Subject

Identify a subject that resonates both personally and intellectually. Ensure it offers enough depth for analysis and fits within one of the discussed categories: literary, social, or historical. For instance, selecting a novel for literary commentary allows exploration of themes, character development, and author's intent. Opt for subjects that not only interest you but also have substantial information available.

Analyzing the Material

Begin by thoroughly reading or examining your chosen material. Take detailed notes on aspects that stand out as significant or intriguing—these will form the backbone of your commentary. Look for patterns or contradictions in data (texts, behaviors, historical accounts) that could enrich your interpretation. This step involves critical thinking to distill complex information into coherent insights.

Researching Your Topic

Conduct extensive research to support your views and provide credibility to your narrative. Utilize credible sources such as academic journals, books by respected authors, and trusted online resources. Gather diverse perspectives on the topic to ensure a well-rounded argument. Document all sources accurately; this not only aids in maintaining ethical standards but also strengthens your commentary’s reliability.

Structuring Your Commentary

After selecting your topic and gathering the necessary information, structure becomes crucial in crafting an effective commentary. This stage allows you to organize thoughts cohesively, ensuring your argument flows logically from one point to another.

Crafting a Thesis Statement

Begin by formulating a strong thesis statement. This single sentence serves as the foundation of your commentary, summarizing your central argument or perspective. Ensure it is clear and assertive. A well-crafted thesis statement sets the tone for the entire piece, guiding readers through your thoughts on the chosen subject matter.

For example, if writing about climate change's impact on urban planning, an effective thesis might be: "Urban planners must integrate sustainable practices to mitigate the adverse effects of climate change."

Outline the Main Points

Next, outline all major points that will support your thesis statement throughout the commentary. Each main point should directly relate back to reinforcing or debating aspects of your thesis based on evidence collected during research.

By outlining these points methodically, you ensure comprehensive coverage of arguments while maintaining reader interest from start to finish—essential for persuasive communication within any type of commentary whether literary, social, or historical analysis.

Writing the Commentary

Crafting a commentary involves articulating your insights on a subject while engaging readers with persuasive and coherent arguments. This section builds directly upon the foundation of selecting topics and structuring preliminary outlines.

Writing an Introduction

Begin your commentary with an introduction that captivates attention and presents your thesis statement. Establish the context briefly, setting up the premise for deeper exploration in subsequent sections. The introduction should:

Hook readers with a compelling fact or question that relates to the core topic.
Present the thesis statement clearly; this acts as your central argument.
Outline what will be discussed, providing a roadmap of your commentary’s structure.

Developing Body Paragraphs

The body paragraphs are where you delve into detailed analysis supported by evidence. Each paragraph should focus on a single main idea that supports the thesis, structured as follows:

Introduce each point with a topic sentence that links back to your thesis.
Provide examples, statistics (if applicable), or quotes from credible sources to substantiate your points.
Explain how these details connect to your overall argument.

Ensure transitions between paragraphs are smooth, maintaining flow and reinforcing the logical progression of ideas.

Providing Context and Analysis

Amplify your commentary by integrating thorough context and in-depth analysis:

Discuss contrasting viewpoints if they help clarify or deepen understanding of your perspective.

Analyze implications or potential outcomes stemming from the issues at hand.

This depth not only enriches comprehension but also showcases your analytical acumen.

Concluding Your Commentary

End with a strong conclusion that reiterates your thesis and underscores key points discussed:

Reflect on broader implications or suggest further areas for research or discussion based on what was presented.

Leave readers contemplating critical aspects of the commentary which may influence their perspectives on the topic.

This structured approach ensures each part contributes effectively towards delivering persuasive, insightful commentary that resonates with audiences across contexts like literary criticism, social commentaries, or historical analyses.

Enhancing Your Commentary

To elevate your commentary, focus on the strategic use of evidence and incorporation of personal insights. This approach ensures your piece not only informs but also resonates with your audience.

Using Evidence Effectively

Optimal use of evidence transforms good commentary into a compelling argument. Begin by selecting evidence that directly supports your thesis statement. Examples include statistical data, quotes from recognized experts, and historical events relevant to your topic. Align each piece of evidence clearly with your main points; this will enhance the credibility and persuasive power of your commentary.

Select Reputable Sources : Choose sources recognized for their authority in the field. For instance, academic journals, authoritative news outlets, and books by respected authors offer reliable information.
Cite Specific Examples : When discussing complex issues like social changes or economic policies, cite specific instances where similar situations have occurred.
Explain Evidence Context : Don't just present facts; explain why they are relevant to your argument. This interpretation helps readers understand the significance within the broader discussion.

Incorporating Personal Insights

Personal insights give voice to your commentary, making it unique and engaging. Reflect on how the topic impacts you personally or how it relates to experiences you've observed. These personal reflections should connect back to the larger narrative or argument you're constructing.

Relate To Broader Themes : Connect your personal story or observation to wider societal implications if applicable.
Showcase Unique Perspectives : Share viewpoints that might not be widely discussed but are informed by personal experience or niche expertise.
Maintain Professional Tone : While sharing personal insights, balance them with a professional tone to maintain credibility and respectfulness towards differing views.

By integrating substantial evidence with genuine personal insights, you ensure that your commentary is both authoritative and distinctly yours. This combination engages readers effectively while supporting robust discourse on the subject matter at hand.

Revising and Editing Your Commentary

Once your initial draft is complete, revising and editing become critical steps to refine your commentary into a polished piece. This phase allows you to enhance clarity, coherence, and the overall impact of your writing.

Self-Review Techniques

Start the self-review process by re-reading your commentary aloud. This strategy helps identify awkward phrasing or unclear ideas that might not be as obvious when reading silently. Focus on ensuring that each paragraph transitions smoothly into the next, maintaining a logical flow that supports your thesis statement effectively.

Create a checklist based on key elements such as:

Thesis consistency: Verify if all sections support or reflect back on your thesis.
Evidence relevance: Check whether the evidence presented effectively backs up your points.
Personal insight integration: Ensure personal reflections contribute meaningfully to the discussion.

Utilize tools like grammar checkers or readability software to detect any grammatical errors and assess sentence structure complexity. Aim for clear, concise sentences that convey information efficiently.

Seeking Feedback

After conducting a thorough self-review, seek feedback from peers or mentors who understand the topic well. Provide them with specific questions about aspects you feel uncertain about to guide their review towards providing constructive insights:

Examples of targeted questions include:

Does my argument come across clearly and persuasively?
Are there any points where my bias may appear unbalanced?
How effective are my introductions and conclusions in each section?

Encourage honest feedback focusing on both strengths and areas for improvement. Analyze received critiques carefully; implementing changes based on this feedback can dramatically enhance the quality of your final submission.

By following these detailed steps under Revising and Editing Your Commentary, you ensure every aspect of your work holds up under scrutiny while presenting a compelling narrative enriched with factual precision and personal authenticity.

Writing a Commentary with ChatGPT

ChatGPT can assist you in crafting a compelling commentary by providing guidance on structure, evidence integration, and personal insight articulation.

Help me write a commentary on [specific subject or event]. I need to develop a strong thesis statement that encapsulates my main argument. The commentary should include an engaging introduction, detailed body paragraphs that support the thesis with credible evidence and personal insights, and a conclusion that synthesizes key points and suggests further research or actions. Ensure the tone is [formal/informal] and the commentary is both persuasive and informative.

Common Issues and Troubleshooting

Transitioning from the earlier focus on revision techniques and clarity enhancement, this section tackles some common hurdles you might face when crafting a commentary. Overcome these challenges to maintain the quality and effectiveness of your work.

Addressing Writer's Block

Encounter writer’s block often manifests as a frustrating barrier to progress in your writing journey. Break through this impediment by engaging in structured brainstorming sessions, where you outline disparate ideas without judging their viability. Set aside time for free writing exercises daily; spend 15 minutes writing about anything that comes to mind, related or not to your topic. This practice stimulates creativity and can unearth new insights or angles for your commentary.

Utilize mind mapping tools which visually organize thoughts and connections between them. Starting with a central idea—your proposed thesis—branch out into main points and supporting evidence, allowing a visual flow of ideas that could break the blockage.

If practicality permits, step away from your workspace for short periods. Physical activities such as walking or yoga refresh the mind, making it easier to return with a renewed perspective.

Handling Overwhelming Evidence

When confronted with an abundance of evidence, streamline the integration process by prioritizing relevance over quantity. Start by identifying three to five key pieces of evidence that most strongly support your thesis statement. Create an evidence hierarchy; categorize each piece by its impact level on advancing your argument.

Construct concise summaries for each chosen item of evidence. These summaries should encapsulate why each piece is relevant and how it supports your viewpoint compellingly yet succinctly.

Implement color-coding in your notes or digital documents: one color for critical evidence, another for supplementary details, and another for general background information. This method aids in quickly distinguishing between what is essential for inclusion and what can serve merely as additional context if needed.

By addressing these common issues directly, you enhance both the efficiency of your writing process and the coherence of your final commentary output.

Craft a compelling closure by synthesizing insights and emphasizing key takeaways. Ensure your commentary leaves an impact by reiterating the core messages and demonstrating their relevance in a broader context. Summarize major points succinctly, linking back to the facts and personal views discussed earlier.

Restate the Thesis: Revisit your thesis statement and reflect on how the supporting arguments have solidified this central idea.
Highlight Major Insights: Outline critical insights gained through your analysis; for example, shifts in public opinion or implications for future research.
Suggest Further Research or Action: Recommend areas for further exploration or steps readers could take to engage with the topic more deeply.

This structured approach ensures that your final words resonate well, providing a clear, authoritative conclusion to your commentary.

Additional Resources

Crafting an impactful commentary isn't just about putting words on paper—it's about making those words work hard to engage and persuade. You've learned how to blend factual analysis with personal insight effectively and now understand the importance of revising your piece to enhance its clarity and impact. With these tools at your disposal you're well-equipped to tackle any topic that sparks your interest or ignites your passion.

Remember writing is a journey: each commentary piece offers a unique opportunity to refine your voice and argue your perspective. Don’t hesitate to experiment with different approaches or seek feedback as you hone your skills. The more you write the better you’ll become at delivering compelling arguments that not only inform but also resonate with readers.

Embrace the challenge ahead—your next commentary could be the one that truly makes a difference!

Frequently Asked Questions

What are the key elements of effective commentary writing.

Effective commentary writing involves blending factual information with personal perspectives, crafting a strong thesis, structuring arguments logically, and integrating context and analysis. It also includes revising for consistency and clarity, utilizing feedback, and employing various techniques to overcome common issues like writer's block.

How should one select topics for commentary writing?

Choosing topics for commentary should be based on areas that are not only of interest to you but also relevant to your audience. It’s important to select subjects where you can provide unique insights or perspectives that contribute meaningfully to existing discussions.

What strategies help in overcoming writer's block during commentary writing?

Overcoming writer's block can be managed through structured brainstorming sessions and free-writing exercises. These methods encourage the flow of ideas without self-censorship, helping writers break through creative barriers.

How can editing tools improve the quality of my commentary?

Editing tools such as grammar checkers help ensure language accuracy. Additionally, seeking feedback from peers or mentors and using targeted questions can significantly enhance clarity and coherence in your work by providing external perspectives on logical flow and argument strength.

What is an effective way to conclude a piece of commentary?

An effective conclusion synthesizes the main insights discussed, restates the thesis in light of these insights, highlights significant points made throughout the text, and suggests further research or actions. This approach ensures a clear closure that reinforces your arguments while leaving a lasting impact on readers.

DIY: How To Write A Commentary

YOUR VOICE. YOUR PERSPECTIVE. Commentaries offer an opportunity to bring your unique experience and thoughtful opinion to an issue of your choice. With a commentary, you can speak for yourself and on your own terms, while representing a wider community whose genuine voices, insights, and realities are left out of the national debate.

How can you help people relate to an issue everyone’s talking about, in a new way? Or maybe there’s an issue no one’s paying attention to–and you’re convinced we need to. If your take on that issue is personal and grounded in your own experience, the commentary is a way for you to drive the national conversation forward.

Characteristics of a Commentary

Pick an issue that inspires passion in you.
Write from your own point of view and draw on your personal, lived experience with plenty of detail.
Assert a clear point of view/opinion.
Connect your story to broader social themes.
Use concrete examples and stories in your writing. Replace general statements with concrete examples that bring readers inside moments of your life.
Include opposing points of view, arguments and/or research.
Write conversationally, like you speak.
Fact-check! Everything in your story has to be true.
Use humor.
Think about the rhythm and pacing of the piece–go back and forth between moments you can describe to bring us into your life and analysis of why these events are important to your issue.
Keep it brief. Commentaries are short. From 200-700 words.

Background: Identifying The Components Of A Commentary

Most commentaries are made up of a few standard parts, defined below:

Tease/Lede: The part of the commentary that “hooks” you, grabbing your interest so that you want to keep on listening. It’s usually the opening to the commentary. Effective ledes use narrative techniques, such as humor, intrigue or controversy, to draw the listener in. If your opening makes people say, “Ooh, tell me more about that,” then you’ve accomplished your goal.

Example : “Growing up as a young, black male in America is not easy. Sometimes it feels like I’m walking on eggshells just to walk a straight line…” Example “I was 16 years old when I found out that I had been diagnosed with high-functioning autism.…”

Tag: This is the part of the commentary where the speaker identifies him or herself. This can occur as part of an intro or at the end of the commentary, depending on the outlet.

Example: “Jill Smith is a senior at Oakland High School and writer with YR Media.”

Scene: Good storytellers know that a little description goes a long way. Describe specific moments, interactions, or scenes you’ve been a part of that apply to the point you want to make. This will help listeners understand who you are and where you’re coming from.

Example: “I often catch myself smiling whenever I’m in conversations with upper-class white folks, so they won’t feel threatened by my presence. There’s been times when I’ve walked down the street and seen car doors lock and purses tucked tighter.” Example: “I was sitting in my tenth grade class and my special ed teacher was going over an interesting article about different types of ‘learning disabilities.’ She stopped and told the class that we were all on the autism spectrum. Immediately, my heart dropped.”

Argument/Evidence: Your argument is the “point” or take-away message of the commentary. It should be firmly based in the writer’s experience. The writer will use evidence, like examples or statistics, to persuade the listener or reader that the argument makes sense.

Example: “I worry a lot of being misinterpreted as a thug, even at my classes at the college of Alameda. I never ask questions, so that other students wouldn’t hear how I speak and associate my language with a thug. All that changed when I recently was recruited to join a class that’s specifically for men of color. We learn professional and public speaking skills and how to be leaders and improvise in tough situations. Example: “Music came easy to me. I could replicate any rhythm, even if I had only heard it once. In class I would drum on the desks. When there was no furniture around, I’d tap on my head and stomach and chatter my teeth. In high school I started producing my own music. Unlike some of my peers, I never got tired of working on my beats. I found out later that people with autism tend to have a keen interest. I started thinking autism might not be a disadvantage after all. When it comes to music, it feels like a superpower.”

Conclusion: The conclusion wraps up the commentary, giving listeners a sense of closure. There are many ways to conclude your commentary — examples include a witty line, a memorable statement or image, or an answer to a question or ending to a story proposed earlier in the commentary. Note: there is a tendency to end commentaries with some version of “How will things turn out? It remains to be seen…” We get the temptation to go for that conclusion, but we ask you to avoid it. We want you to have a powerful final word.

Example: “We all come from different backgrounds, but we all share the same desire, to get a college degree. I believe this class will help me become more comfortable and confident, and help me change other peoples’ opinions of all young black males in America.” Example: “Eventually, I started to tell people close to me that I am autistic, and they seemed okay with it. Instead of judging me, they told me that’s part of what makes me unique.”

Other Examples of Commentaries (for radio and print)

Student at Harvard Defends Affirmative Action

My First Encounter with Racism

For a Moderate Conservative at Berkeley, a Battle on Two Fronts

Understanding Singular They

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What is the point of a Reflective Commentary

A good many students look upon the Reflective Commentary as a nasty trap set by module writers and tutors to catch writing students unawares. And unless students understand the purpose of a reflective commentary it can indeed become a trap, or something that trips the student writer up. But its purpose has always been to actually help students improve their writing, so that what may have started out as exploration and intuition becomes establishment and understanding. I think I have written before about there being basically two kinds of writers: the planners and the explorers, though many writers may consider themselves somewhere on a spectrum between these two extremes. The planners have an idea and work out how they are going to structure their story, script or plot, and then their writing follows this outline. The explorers might have an idea and then they start writing and the story, poem or script develops as they write. I have also referred before to Frank Smith’s Writing and the Writer (Routledge 1994) where he offers a useful diagram which suggests most writers are on a spectrum between planning and exploring. Writers begin with specifications but as they write new ideas pop up and change the original specification, and this then becomes an on-going process. He suggests that writers can try and keep tabs on themselves as they write by stopping their story/script/poem every so often and commenting on it on a separate piece of paper or window. This, however, may well inhibit your writing and even change the direction or style. However, it may illuminate writing processes you have been using without your being conscious of them until that point. In my January blog I cautioned students against being too hung with creativity and innovation and offered the idea of control instead. And it is an analysis of how redrafting enables you to gain control over your writing that should be in the Reflective Commentary. Some seventeen years ago (2000) four writers and tutors, members of the National Association of Writers in Education ( https://www.nawe.co.uk/ ) got together to work out a set of criteria that could be used by all writers and tutors regardless of genre or the demands of specific syllabuses. We discussed all sorts of criteria including ones like imagination, creativity, innovation and experimentation, and promptly discarded them as too subjective. Eventually we came up with the idea of control as the central most important criterion for all writers; planners may have more control over their initial drafts while explorers might only achieve control on later drafts of their work. We then asked ourselves, how student writers could gain control over their writing: the answer was that by inspecting their drafts they might begin to see what changes they had made. We then decided that only by writing their commentaries could students understand themselves the reasons they had for making those changes. At the same time the commentary would then prove to tutors and assessors that students had indeed understood. Our next task was to come up with four very basic aspects of writing which we wanted our students to be able to control: 1. Structure 2. Point of view 3. Language and 4. Observed or imagined detail. We decided that if students showed through their drafts and commentaries that they had thought about these four aspects, then the techniques and strategies they used in their writing would be part of the kind of control which in turn would allow them to be creative or innovative. Below is an adapted version of the chart we designed to help student writers, teachers and assessors. And of course, it is not just a tool for assessing and teaching , but is a vital tool in students learning to know what is important in their writing.

Aspect of Writing	Definition
Structure	Control over the organisation of text with the needs of genre, reader, content and economy. In prose this will refer to storyline and plot; in poetry to metric and free verse and line endings; in script-writing to storyline and scene sequences.
Point of view	Control of narrative voice, dialogue, register and tone. Control over the way characters are used in the text.
Language	Control of language – especially economy with adjectives, adverbs and clichés. Control of the use of metaphor and use of dialect
Observed detail	Control of details which render situations vivid to the reader; the principle of ‘showing-not-telling’ with reference to place and character.
Commentary / Analysis	The students’ own exploration of their writing process with reference to the above assessment criteria, analysing how and why changes have been made from one draft to another.

So what should be in that commentary? There should be a brief reference to the genesis of the writing, but you should avoid the sort of commentary that is merely an explication of what you have written or that refers to the number of mugs of coffee you drank while redrafting, two pitfalls that often prevent students from getting to grips with an analysis of the writing process itself. It should be clear from this chart that you need to redraft your work or at least you need to consider the possibility of changing what you have written, based on your own ideas and/or tutor suggestions. You may make changes and then return to your original draft or you may make no changes, but you should refer to these possibilities in your commentary. You should then use your background reading of both primary and secondary sources to back up the decisions you made, and only the sources mentioned in the commentary should appear in the bibliography. Of course your individual assignment commentaries of 500 words will not allow you to write a very detailed commentary: the details will come in your final commentary of 1500 words. Image Credit: OCA student Mark Graham.

6 thoughts on “ What is the point of a Reflective Commentary ”

Really useful – thanks Liz. I agree that this should be a resource that students can access more widely.

This is actually quite useful to students of fine art too. My students all have to come to terms with the requirement to keep a learning log and find a way to make that process useful to them as practitioners. This blog post may well help some of them to see a route to making written reflection a more potent live tool, rather than a hurried afterthought!

This is excellent advice, Liz. I will definitely use it for my reflective commentaries. I wondered if a similar article could be done, advising students on the structure of a Creative Reading Commentary. I think this would be extremely helpful.

Thank you very for this useful article. Would appreciate links to any continuation of this thread.

Yes, thanks Liz, excellent explanation, and yes please to what Carole said above 🙂

This goes right to the heart of writing -great advice for writers to follow during the action of writing as well as when reflecting for their commentries. Control is all…it’s why writers often tell students ‘what happens on that page is in your hands’. And when I read a student’s work I can tell instantly if they have control of their work. Thanks; I’ll be recommending this to all students, especially level 2 and 3.

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Easy Steps To Write A Commentary Effectively

Easy steps to write a commentary in the english language , how to write a commentary.

The first time you have to write a commentary, you may ask questions such as what a commentary is. How can I write it? Asking these questions is very normal because commentary is not something we hear on a daily basis. It is an academic skill that you study at school. I will try to help throughout this article to answer these questions.

What is a commentary?

A commentary basically focuses on the analysis and detailed description of a specific text (chapter, movie, story). Commentaries can also be written on quotes, short texts, articles). Typically, it is used for the news and magazine publications where a publisher writes it for newly published articles. The major purpose of publishing a commentary is to primarily provide a forum where various perspectives and ideas on a certain topic in a journal can be talked over.

Writing commentaries means writing a well-detailed analysis of an article or a text. A commentary is different from an essay. The essay form and commentary may sometimes overlap and be used interchangeably, but it may be helpful to make some comparisons. A commentary is often very short (a few hundred words) and more journalistic (critical) in tone than a personal essay. It properly fits as a column in a newspaper or in a magazine. The writing can be more newsy than literary. On the other hand, the essay form is an extended piece of writing that presents and supports a certain proposition (topic). It can be descriptive, argumentative, narrative, or expository.

A commentary requires deep knowledge, analysis, and critical thinking

Writing a commentary requires you to have knowledge about the topic. You will have to present your unique perspective and discuss the essential concepts and the arguments in the text. Your commentary is somewhat an extension of the ideas and of the writer. It should bring more clarity to the arguments in the original text.

As a skill you are expected to master, a commentary is somewhat subjective. It should reflect your critical thinking skills, your way of seeing and perceiving life, how to defend yourself using arguments, how to link content to your reality. It is totally different from summarizing which should be objective and limited to the text.

Steps to prepare for a commentary

There are several steps you have to follow to write an effective and successful commentary.

What you should do before writing?

Just like any kind of writings, you have to prepare yourself. When writing a commentary, try to do the following things:

Read the text several times. Read each word carefully and try to understand what the writer is trying to say. Try to understand the meaning.
You may want to underline major concepts, ideas, arguments, quotes. Underline anything that you think will help you.
Underline keywords.
Outline the main points. You will have to study the text deeply and analyze the structure of the article and its content and prepare an outline accordingly.

Steps to write the commentary

Identifying the basic information (the title, the author name, publication date, if any, and the genre of the text. This type of information will be included in the introduction section of the commentary.
Try to mention the theme, subject, and audience. In the main part (the body of) the commentary, you have to describe the main text and its focus. Discuss the following questions:
Pay attention to the structure and genre of the content

Check the genre of the text. Is it narrative or descriptive? Is it fiction or non-fiction? Look at the types of sentences and words being used.

Try to understand the tone o the writer.

The definition of “ tone ” in literature is the way the author expresses his attitude through his writing. The tone can change very quickly or may remain the same throughout the story or the text. The tone is expressed by the use of syntax (grammar), the writer’s point of view, the writer’s diction (the choice and use of words and phrases in speech or writing), and the level of formality in the writing.

Although this is a part of literature and literary commentary, it is important for you to learn to understand the style of expression of the thoughts. The attitude and the mood of the author can be known by looking at the tone of the text. Depending on the need of the subject, the author may have used different tones in different situations. Observe how the tone changes to understand the fluctuations of the mood and changes in the situations or events.

Check the literary devices that deepen the meaning

The writer might use literary devices such as metaphor, imagery, alliteration, and simile to intensify the meaning. Identify them and mention them in your commentary whenever possible.

Take the quotes included in the text. To support your points and opinions, you can use the quotes from the text. You can directly take the quotes and use the quotation marks. Use only those quotes which are relevant and can support the discussion.
Ask for the feedback

To make your commentary better, you should read in front of a friend, a family member, a teacher or anybody and ask for their feedback.

Proofread and correct the text

Read your writing, identify grammatical and spelling mistakes. Also, check your punctuation and capitalization. The quality o

Remember, when we talk about writing a commentary, it can be on a video, a picture, a text, a statement, or a quote. They are all the same thing. It is very important for you to know the main idea. Then, give your opinion about the main idea (implicitly or explicitly), and then defend your opinion using your own arguments. You can relate the quote, the picture, the text being asked to comment on to your social or political life. You may want to relate it to your cultural or religious background. It all depends on the content.

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Commentary Essay Example, Writing Guide, and Tips

Introduction

Welcome to The Knowledge Nest, your go-to resource for all things related to commentary essay writing. In this comprehensive guide, we will walk you through the process of crafting an impactful commentary essay, providing useful examples and valuable tips to help you enhance your writing skills.

What is a Commentary Essay?

A commentary essay is a type of academic writing that aims to analyze and provide an in-depth interpretation of a particular text or topic. It offers a critical examination and evaluation of the subject matter, exploring various perspectives and providing evidence-based arguments to support the author's viewpoint.

Why Write a Commentary Essay?

Writing a commentary essay allows you to develop critical thinking skills, enhance your analytical abilities, and strengthen your written communication. It provides a platform to express your ideas and opinions, engage with different viewpoints, and present a well-rounded analysis of the chosen subject matter.

Key Components of a Commentary Essay

1. Introduction: Begin your essay with a captivating introduction that presents the topic and provides context for the reader.

2. Thesis Statement: Craft a clear and concise thesis statement that outlines your main argument or perspective.

3. Body Paragraphs: Develop your analysis in well-structured body paragraphs, each focusing on a specific point or theme. Use relevant evidence, examples, and expert opinions to support your claims.

4. Counterarguments: Address potential counterarguments or alternative viewpoints and offer thoughtful rebuttals to strengthen your position.

5. Conclusion: Summarize the main points of your essay and reiterate your thesis statement, leaving the reader with a lasting impression.

Step-by-Step Guide to Writing a Commentary Essay

Step 1: choose a relevant topic.

Select a topic that aligns with your interests and falls within the scope of your assignment or academic requirements. Consider the relevance and significance of the subject matter to engage your readers.

Step 2: Conduct Extensive Research

Gather information from credible sources such as academic journals, books, reputable websites, and scholarly articles. Engage with different perspectives and take diligent notes to support your analysis.

Step 3: Outline Your Essay

Create a clear and well-structured outline that outlines the main points, arguments, and supporting evidence you will present in your essay. A well-organized outline ensures a cohesive and logical flow of ideas.

Step 4: Craft an Engaging Introduction

In your introduction, provide a brief overview of the topic and its significance. Hook the reader's attention with an intriguing opening sentence or a thought-provoking question.

Step 5: Develop Your Arguments in the Body Paragraphs

Divide your essay into distinct body paragraphs, each focusing on a specific point or theme. Begin each paragraph with a topic sentence that establishes the main idea, and support it with relevant evidence, examples, and analysis.

Step 6: Address Counterarguments

Acknowledge alternative viewpoints and counterarguments to demonstrate your awareness of different perspectives. Articulate thoughtful rebuttals that strengthen your arguments and distinguish your viewpoint.

Step 7: Conclude with Impact

In your conclusion, summarize the main points of your essay and restate your thesis statement. Leave the reader with a compelling closing thought or call-to-action that invites further reflection or discussion on the topic.

Commentary Essay Example

To provide you with a better understanding, let's consider an example of a commentary essay on the topic of climate change:

Introduction:

Climate change has emerged as one of the most pressing global issues of our time. This commentary essay aims to analyze the causes, impacts, and potential solutions to address this environmental crisis.

Body Paragraph 1: The Causes of Climate Change

The first body paragraph delves into the primary causes of climate change, such as greenhouse gas emissions, deforestation, and industrialization. It explores how human activities have contributed to the accelerated pace of global warming.

Body Paragraph 2: The Impacts of Climate Change

In the second body paragraph, we examine the far-reaching impacts of climate change on ecosystems, weather patterns, and human livelihoods. We explore the devastating consequences of rising sea levels, extreme weather events, and the loss of biodiversity.

Body Paragraph 3: Potential Solutions to Climate Change

The third body paragraph focuses on potential solutions to mitigate and adapt to climate change. It explores renewable energy sources, sustainable agricultural practices, and international collaboration as key strategies to combat this global crisis.

Conclusion:

In conclusion, the commentary essay emphasizes the urgent need for collective action to address climate change. By understanding its causes, impacts, and potential solutions, we can work towards a sustainable future for generations to come.

Writing a commentary essay enables you to dive deep into a specific topic, critically analyze it, and articulate your thoughts effectively. By following our comprehensive guide and utilizing the provided tips, you will be well-equipped to create impactful commentary essays and improve your writing skills.

Enhance Your Writing Skills with The Knowledge Nest

At The Knowledge Nest, we are committed to providing valuable resources and expert guidance to help you excel in your academic and professional pursuits. Explore our wide range of articles, guides, and examples to enhance your writing skills and expand your knowledge across various disciplines.

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The Writer's Process: How to Write a Reflective Commentary for A Level AQA

The notes, exercises and examples will help your students to develop the right tools for analysing their own writer’s process, to approach the reflective commentary with a clear grasp of what's required, an opportunity to gain confidence and to enjoy the process of reflecting on their own work.

It really encourages the student writer to reflect on the process of the craft of writing R Hill, Teacher & Peer Reviewer

How to approach the commentary for Units 2 and 4 and different ways into self-critiquing
Writing the commentary for prose fiction, poetry, dramatic scripts, radio drama, screenwriting and prose non-fiction
How to reference and how to construct the bibliography for Unit 4
Example Reflective Commentary

Drafting chart, reading log, quotation log, and commentary checklists all included.

Useful vocabulary and key terms for specified genres
Recommended reading list
Additional exercises on narrative and clichés

The author has done every teacher of creative writing a big favour ... ... Would save anyone teaching the syllabus a lot of work R Lodge, HoD & Peer Reviewer

Share with others:

What do teachers say about this resource (5117).

It really nails the demands of units 2 & 4 and avoids the English Language pitfalls . I loved the way it develops the commentary/rationale from a writer's point of view . It really encourages the student writer to reflect on the process of the craft of writing . It matches the spec spot on . The definition of the commentary really nails the fact that what is not needed is an English Lang and Lit type of coursework commentary. I fear many an English teacher will be out of their depth in this A level and this resource will aid them immensely . R Hill, Teacher & Peer Reviewer

Superb content! I was pleased to see pages dedicated to commentary style, and examples given that allow students to craft their writing around the recommended idea , but without losing out to rigidity. I like the charts and logs on, this is a great way to lay out students' progress and get them to consider how their changes have an overall effect. I really like the writing tips and quotations from authors and philosophers - this really gets students identifying with writers and considering their own potential impact. The sections on referencing and bibliographies are great for encouraging good practice . More of this should be included in AS and A2 resources - if we still had coursework at GCSE, I'd be buying this resource just for these pages. A carefully developed, sophisticated guide that would help to level the playing field for students from an analytical point of view . Penglais English Department

This resource makes teaching commentaries suddenly seem pretty easy . The author has done every teacher of creative writing a big favour . It gives clear and precise advice on how to do a commentary . Lots of examples and particular guidance. Would save anyone teaching the syllabus a lot of work. Excellent matching of the syllabus requirements, clearly written with the new syllabus in mind. Anyone teaching this syllabus should get a copy of this resource. It will save them hours of work! R Lodge, HoD & Peer Reviewer

This resource would be beneficial to any department offering this course . From the first exercise the students are encouraged to be independent, organised and collect information on a weekly basis . This will teach them valuable skills to use during this course and their degree if they continue with their studies. K Greaves, Teacher & Peer Reviewer

Creative Writing Commentary. D:

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Int J Qual Stud Health Well-being

Guidelines for writing a commentary

A commentary is a comment on a newly published article. A commentary may be invited by the chief editor or spontaneously submitted. Commentaries in International Journal of Qualitative Studies on Health and Well-being are peer reviewed. We now welcome commentaries!

What is a commentary?

The goal of publishing commentaries is to advance the research field by providing a forum for varying perspectives on a certain topic under consideration in the journal. The author of a commentary probably has in-depth knowledge of the topic and is eager to present a new and/or unique viewpoint on existing problems, fundamental concepts, or prevalent notions, or wants to discuss the implications of a newly implemented innovation. A commentary may also draw attention to current advances and speculate on future directions of a certain topic, and may include original data as well as state a personal opinion. While a commentary may be critical of an article published in the journal, it is important to maintain a respectful tone that is critical of ideas or conclusions but not of authors.

In summary, a commentary may be:

A critical challenge to one or more aspects of the focal article, arguing for a position other than that taken in the focal article.
An elaboration or extension of the position taken in the focal article, basically sympathetic to the position taken in the focal article but pushing the argument further.
An application of a theoretical or methodological perspective that sheds light on the issues addressed in the focal article.
A reflection on the writer's experiences in applying the issues addressed in the focal article, in particular health and well-being settings.
A comment on the applicability of the issues raised in the focal article to other settings, or to other cultures.

How to write a commentary

Commentaries in International Journal of Qualitative Studies on Health and Well-being should not exceed 10 manuscript pages. A tightly argued four- to six-page commentary is likely to be better received than a meandering 10-page ditto. Use these simple guidelines:

Do not summarize the focal article; just give the reference. Assume the reader has just read it. Move directly to identifying the key issues you want to raise.
Do not include general praise for the focal article.
Use only essential citations. For commentary purposes, cite only works absolutely essential to support your point.
Use a short title that emphasizes your key message. (It should be clear in context that all commentaries are a reaction to a particular paper).
Do not include an abstract.
Make clear your take-home message.
Make sure there is full author information (name, affiliation, address, phone, email) for all authors. Authors must be individuals.

Review process

Commentaries will be peer reviewed and most likely accepted if they are in line with the definitions and guidelines outlined. A small set of reviewers will read and evaluate all commentaries as they need to compare commentaries for issues of redundancy and to make evaluations of relative merit.

Queries for the editor

Authors should feel free to correspond with the chief editor prior to submitting a commentary if there are questions about any aspect of the evaluation and publication process. Authors may prepare a brief outline of the key points they desire to present in the commentary and send it to the chief editor.

Does it cost anything to submit a commentary?

Spontaneously submitted commentaries incur a cost of €65 per typeset page. The author will be invoiced once the commentary has been accepted for publication.

We hope you will send us a commentary whenever you think there is a need to broaden the perspectives on health and well-being presented in our journal.

The Ultimate Guide to the VCE English Framework of Ideas

Confused by the new ‘Creative Text’ component? Unsure what the ‘Framework of Ideas’ is?

Today we’ll provide as much detail as possible to make you more familiar with the new section and what it requires you to do!

In 2024 the Framework of Ideas and Crafting texts section was added to the VCE English Study Design , replacing the comparative essay and adding to the creative task component. The new section is quite intimidating due to its open-ended nature and how it leaves a majority of the work up to your creative direction.

Read on to find out more!

What is the Framework of Ideas? Will I be assessed on the Framework of Ideas? What does Framework of Ideas look like in the VCE English Exam? What are the four options within the Framework of Ideas? Audience and Context Purpose Reflective Commentary How can I study and prepare for this section?

What is the Framework of Ideas?

The Framework of Ideas gives students four themes to explore in creative writing. In 1/2 English, your school and teachers are free to select the Framework of ideas and the texts they will use for Unit 1, Outcome 2. In 3/4 English VCAA provides these four themes to pick from:

Writing about country Writing about protest Writing about personal journeys Writing about play

The four themes will not change, meaning you can investigate one in depth throughout the year. Schools and teachers must select for their classrooms, one of the Framework of Ideas, they must also select three of the four texts aligned with their selected Framework of Ideas provided by VCAA.

Please note that you cannot do the same Framework of Ideas and Mentor Texts in 1/2 and 3/4 English!

What are Mentor Texts and how do they relate to the Framework of Ideas?

Each framework aligns with four ‘ Mentor Texts ‘ provided by VCAA. The purpose of these texts are as follows:

Explore effective and cohesive writing Explore the purpose, context and audience of texts Explore the intention and integrity of texts Explore the frameworks Unpack text structures, language features and vocabulary

Additionally, in 1/2 English, your teachers will provide you with their own chosen ‘Mentor Texts’ that related to the frameworks they made. You will not use the same ‘Mentor Texts’ in 1/2 and 3/4 English, VCAA very clearly requests that there must be no overlap.

Will I be assessed on the Framework of Ideas?

In VCE English, the framework of ideas are part of the Creating texts Area of Study. You will apply your exploration of the chosen framework to develop a creative piece.

These pieces can be in a variety of forms, such as poems, articles and short stories. Therefore, you will be assessed on your skills in writing a creative piece.

In 1/2 English this is how you will be tested on your creating text skills:

– Extracted from the official VCAA Website in the ‘planning’ section

In 3/4 English you will be tested on your creating text skills through the following:

Furthermore, don’t forget that there will be a ‘Framework of Ideas’ (Crafting text) section in your final exam !!

Above is an extract from VCAA’s Sample VCE English Examination for the new English Study Design. These instructions outline what you are expected to write about in the ‘Framework of Ideas’ section. The key points of assessment are as follows:

You must create meaningful connections with one of the themes, the title provided and one of the stimulus material. You must either explain, express, reflect or argue in your piece. You must display a high level of grammatical skill and expression .

Below is also the marking criteria for the Creative text section from VCAA’s Sample VCE English Examination. These criteria should provide you with a better idea of what you need to achieve in the exam!

What does the Framework of Ideas look like in the VCE English Exam?

Below is another extract from VCAA’s sample VCE English examination. This provides an example of what content you will need to use in order to write your creative piece.

Overall, there are three key parts in this extract:

The framework
The stimuli

You will be provided with the four different frameworks, all with different titles and stimuli in your exam.

What are the four options within the Framework of Ideas?

Confused by what the ideas actually mean? Let’s go through each one and unpack what they are about!

Writing about Country

Country relates to place and belonging. To be more specific, the framework explores physical land on different regional scales, emotional connections, memories and issues of these places . VCAA encourages students to investigate different cultural connections and people that are associated with this idea.

Key texts provided by VCAA :

‘Gooseberries’ – Anton Chekhov ‘The Hate Race’, Chapter 2 – Maxine Beneba Clarke ‘The Conquest of Land and Deam’ – Yumna Kassab ‘Split’ from ‘Flock: First Nations Stories Then and Now’ – Cassie Lynch

Writing about Protest

VCAA recommends to write about what protesting means, its value, potential outcomes and how it relates to conflict . You can explore established social activists such as Martin Luther King Jr and Rosa Parks as well as group protests like BLM. You could also look at protests throughout history, investigating their success or failure .

Key texts provided by VCAA:

‘Friday Essay: On the Sydney Mardi Gras March of 1978’ – Mark Gillespie, from The Conversation ‘Freedom or Death’ – Emmeline Pankhurst, from The Guardian: ‘Great Speeches of the 20th Century’ ‘Monologue from City of Gold’ – Meyne Wyatt, Australian Broadcasting Corporation, Q+A episode ‘Harrison Bergeron’ – Kurt Vonnegut, Welcome to the Monkey House

Writing about Personal Journeys

You will create biographical style pieces and adventure through the journey of life . You have the freedom to tell a wide range of stories that have occurred throughout history or simply about yourself , you can even retell stories from different perspectives or viewpoints .

‘The Danger of a Single Story’ – Chimamanda Ngozi Adichie The Red Plastic Chair is a Vietnamese Cultural Institution, and My Anchor’ – Amy Duong ‘bidngen’ – Maya Hodge Walter’s speech (end of Part 1) from The Inheritance – Matthew López

Writing about Play

You can explore the culture, history and tradition of performance . It can be play in any type of entertainment medium that is appropriate. VCE invites writers to explore how plays are used to make comments or propose ideas on real world events and issues .

Monologue from Cyrano – Virginia Gay ‘All That We Know of Dreaming’, Something Special, Something Rare: Outstanding Short Stories by Australian Women. – Penni Russon ‘About the Boys’ – Tim Winton ‘An Open Letter to Doubting Thomas’ – Chelsea Roffey

Audience and Context

In the VCE English Study Design, it outlines that “audience and context are key to creating effective and cohesive writing”. Therefore, it is important for you to understand how to address audience and context when writing the creative piece. VCAA provides some points for you to consider when trying to implement these two components into your piece:

– Extracted from VCAA’s VCE English Study Design

Generally, achieving appropriate consideration for audience and context will come with practice and study, as it will require a deep understanding and knowledge of your chosen framework. Over time, as you continue to write on your framework, you’ll become more familiar with these two concepts and how they relate to your piece!

You will need to consider the reasons for creating the text. VCAA provides you with four purposes that you can use when writing your piece:

Express: exploring stories and narratives. Explain: exploring cause, effect and consequence. Reflect: exploring personal revelation. Argue: explore a point of view, taking a position and suggesting answers to issues.

Reflective Commentary

The reflective commentary applies specifically to coursework (your SACs). The purpose of the reflective commentary is to make students justify why they took their creative piece in the direction they did by explaining their writing process.

Specifically, the task may involve:

Why you interpreted the framework the way you did Why you utilised your mentor texts the way you did Why you used your chosen form

How can I study and prepare for the Framework of Ideas?

Firstly, the ‘Mentor Texts’ are extremely important, I highly recommended for you to have deep knowledge and understanding of these texts and to really think about how they link to your chosen Framework of Ideas. I would personally create extensive notes and annotations on all my mentor texts and additional pieces.

Secondly, I would practice crafting texts under the proper SAC and exam conditions , with the same material, help, and timing . This will help you feel more familiar with the task and ultimately more prepared.

Finally, make sure to pick (if you do have the ability to choose) a framework that you are extremely passionate or knowledgeable about! You can always write more on something you are passionate about. There is no ‘easier’ or ‘harder’ framework.

It is important to note that you are not allowed to write a song, poetry or verse in the final exam!

That’s all!

Although this section may be intimidating due to how open-ended it is, VCAA has set out a very clear set of guidelines that outline what they want you to achieve in your piece. Make sure to keep the criteria in mind when preparing for this section!

For the most part, I’m sure if you practice enough and do plenty of exploration into your respective framework of ideas, you’ll be able to handle this section of VCE English with ease!

Have multiple SACs on at the moment? Read our guide on managing many SACs at once !

Are you looking for some extra help with working through the VCE English Study Design?

We have an incredible team of VCE tutors and mentors!

We offer specialised English tutoring in Melbourne with expert tutors ! Get in contact today to secure your expert coach.

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

Looking for a local tutor in Footscray ? Or needing support for the VCE in Doncaster ? We offer one-on-one tutoring, in your home or online!

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!

Max Huyton is the VIC Growth Marketer for Art of Smart and a Laws and Commerce student at Monash University. In his other life, Max spends his time reading and writing whenever he gets the chance and cooking extremely mediocre dishes for friends and family.

Topics: ✍️ Learn , ✏️ English

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Remembering james heffernan, prolific literature scholar and champion of the humanities, posted on august 05, 2024 by arts and sciences.

The professor emeritus of English died on July 21.

James Heffernan, professor emeritus of English and longtime resident of Hanover, died on July 21 of metastatic prostate cancer. He was 85.

"James was a prolific scholar of literature, a cherished teacher, and a passionate champion for the humanities. With his expansive intellect, playful wit, and generous spirit, he touched the lives of countless students and colleagues at Dartmouth and around the world," Dean Elizabeth F. Smith said in a message to the Arts and Sciences community.

Born in 1939, and raised in the Boston suburb of Jamaica Plain, Heffernan earned his BA from Georgetown University in 1960 and his PhD in English from Princeton in 1964. He was an instructor of English at the University of Virginia for two years before joining Dartmouth as an assistant professor in 1965. After being promoted to associate professor in 1970 and full professor in 1976, Heffernan served as chair of the English department from 1978 to 1981 and as the Frederick Sessions Beebe Professor in the Art of Writing from 1997 to 2004, when he retired.

The author of 10 books and dozens of scholarly articles, Heffernan began his academic career with a focus on English Romantic poetry and broadened his focus over the years to the entire Western canon and the interconnections between literature, art, and politics. He also co-authored a popular textbook, published first in 1982 by W.W. Norton, Writing: A College Handbook , that sold over 100,000 copies in its first year and continued through five editions.

Heffernan followed his first book, Wordsworth's Theory of Poetry: The Transforming Imagination (1969) , with The Re-Creation of Landscape: A Study of Wordsworth, Coleridge, Constable, and Turner (1985), which compares the nature poetry of two major Romantic poets to the work of two of England's most important landscape painters.

In 1992, Heffernan edited a collection of essays, Representing the French Revolution: Literature, Historiography and Art, that was published after he hosted a conference on the French Revolution at Dartmouth in July of 1989. The acclaimed historian Simon Schama described the book as "the best set of essays that we have" on English responses to the French Revolution, and he called Heffernan's piece on Wordsworth's Prelude a "superlative essay, the best modern reading of the Prelude I know."

Heffernan next turned his attention to ekphrastic poetry, in which poets set out to re-create in words a work of visual art. His 1993 book, Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery , was followed in 2006 by Cultivating Picturacy , a collection of essays on the relationship between literature and art. The book was praised by many eminent scholars, including Gillen D'Arcy Wood, who called it "a treasure for scholars and students interested in the history, theory, and practice of text-image relations."

In 2009, Heffernan launched Review 19 , which reviews academic studies of 19th-century British and American literature. With hundreds of reviewers, ranging from graduate students to emeriti, the site published nearly 700 articles and drew more than 200,000 unique visitors.

His next book, Hospitality and Treachery in Western Literature (2014), traces the giving and taking of hospitality in Western literature, from Homer's Odyssey to Albee's Who's Afraid of Virginia Woolf? This was followed by his 2023 book, Politics and Literature at the Dawn of World War II , the first comprehensive study of the impact of the outbreak of World War II on the literary work of American, English, and European. The New York Review of Books called it "an appealing enticement to read some of the most inventive works of wartime literature and to recognize their contributions to the historical record."

In addition to his scholarly writing, Heffernan wrote extensive political commentary. Between 2005 and 2017, he published nearly 70 columns in the Huffington Post, with topics ranging from abortion rights and immigration to terrorism and the Israel-Palestine conflict. He also authored a number of satirical pieces, with titles such as "Should Stephen Colbert Be the Next Pope?" and "Jesus and His Wife: The Pre-Nup."

At Dartmouth, his literature courses garnered copious praise from students, especially his senior seminar on James Joyce's Ulysses . His other popular courses included Romantic Poetry and A Survey of English Literature: Dryden to Eliot.

Heffernan was also highly regarded by students around the world who watched his lectures via the Teaching Company's Great Courses : 24 lectures on Ulysses and more than 20 additional talks on authors including Jane Austen, Albert Camus, and Samuel Beckett. His courses attracted numerous five-star reviews, including praise of his "acting (and singing!) skills" and ability to "recite dialogue so beautifully in character." They also inspired students from as far as Iran to write Heffernan with messages of gratitude, leading in some cases to years-long correspondences.

Heffernan also took great pride in helping to host Democratic candidates on campus. In 1992, he introduced Hillary and Bill Clinton to their first Dartmouth audiences—the former on Jan. 9 and the latter on Feb. 13. In 1994, when Hillary returned to campus as first lady, Heffernan was invited to drive in her motorcade as it traveled from Lebanon Airport to the Hopkins Center and then back after her speech.

In his public lectures and writing, Heffernan advocated vocally for the study of the humanities. "Having spent trillions of dollars fighting terrorism with bullets and bombs, we need literature and the humanities now more than ever, because they strive to heal, to nurture the most priceless of all our possessions: our humanity," he wrote in a 2021 column in The American Scholar . His final book, a memoir posted on his website , details a blueprint for the future of the humanities at Dartmouth, which includes the revival of a required year-long course for first-year students covering ancient to modern texts.

A palpable love of words permeated all of Heffernan's work, which also includes poetry he composed for family members and friends on special occasions, such as a free verse narrative about his mother on her 100th birthday. In his memoir, he reflects on the famous words of Dylan Thomas:

Do not go gentle into that good night, Rage, rage against the dying of the light.

"Having lived more than twice as long as Dylan Thomas, I do not rage against the dying of the light," Heffernan wrote. "On the contrary, my point of departure for this chapter is my own little twist on his angry couplet:

Do not go silent into that good night, Write, write against the dying of the light.

This sense of joyful engagement defined his approach to teaching. "Ultimately, my teaching springs from a passion to learn, which is what I strive to share with my listeners," he said. "School is just the beginning of education. If you want to stay alive to the very end of your life, never stop learning."

Heffernan is survived by his wife, Nancy Coffey Heffernan; his two children, Andrew and Virginia Heffernan; their partners, Heidi Rose Robbins and Richard Stanislaw; and his four grandchildren, Kate Robin Heffernan, Dylan Heffernan, Benjamin Samuels, and Susannah Samuels. Funeral services will be held at St. Thomas Episcopal Church in Hanover in the early fall, followed by interment of ashes in the Columbarium.

In lieu of flowers, donations may be made to the LISTEN Center of Lebanon in Heffernan's honor.

The Dartmouth flag will be lowered in Heffernan's honor on Aug. 7 and 8.

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Picture Prompts

142 Picture Prompts to Inspire Student Writing

A school year’s worth of short, accessible image-driven posts that invite a variety of kinds of writing.

In this illustration, a teenager sits on a bench while holding a book over his face. The book has eyes that look out suspiciously. Surrounding the bench are two people who are peeking out from behind bushes and a photographer who is snapping a picture next to a car.

By The Learning Network

We’ve been publishing our Picture Prompts series four days a week since 2016. Below, we’ve rounded up all the prompts we published for the 2023-24 school year.

These short, accessible, image-driven prompts invite students to pen short stories, poems and memoirs; share experiences from their lives; analyze illustrations, graphs and charts; and tell us their opinions on hot-button issues.

You can find even more in our roundups for the 2022-23 , 2021-22 and 2020-21 school years, as well as in our collections of 125 picture prompts for creative and narrative writing and 25 spooky images for writing scary stories .

To learn how you can use Picture Prompts to build literacy skills, promote critical thinking, inspire discussion and foster creativity in your classroom, watch our three-minute tutorial video or our on-demand webinar . For dozens more ideas, see our lesson plan “ How to Teach With Our Picture Prompts (and Other Times Images) .”

If you use this feature with your students, or if you have other ideas for how to use photos, illustrations and graphics to encourage writing, let us know in the comments.

Share experiences from your own life.

Boys and Cologne Soapbox Derby Graphs Old and Young 2,000 Bags Spring Holidays Baking Spring ‘Floor Person’ Checking Your Watch ‘Wild’ Ice Skating Lunar New Year Hot Pot Distracted Walking Breakfast Wild Weather Maps Healthy Habits Holiday Classics Compliments Family Drama Thanksgiving Dinner Libraries Scary Movies Carving Pumpkins Fall Friday the 13th Our Own Language Skydiving Lazy Days Back to School

What story does this image inspire for you?

Falling Into a Hole Friends? Up, Up and Away! Pet Alligator Shadowy Figures Help Fishing in a Stream Tiny House Rats on a Dog Walking Away Public Selfies Hidden Doorway Playing Dominoes Point of No Return Sunset by the Water Valentines Biking Climbing a Ladder Reflections Happy Creatures Snowfall Blindfolded The Red Planet Dog TV Walking Through Town People and Penguins Witches on the Water Spying Show Time! A Wave Goodbye Ancient Arrow A Hand Up Darkened Library The Concert

What do you think this image, chart or cartoon is saying?

Pink Head, Green Check City Street Lapel Buttons One Seat Underwear on a Statue Justices An Elevator Filled With Robots Flying Plastic In a Box Watching Snacks and Drinks Tree Stump Behind Columns Lying in Bed Soccer and Dollars Two People Sitting Package and Globe Hot-Air Balloon Civil Conversation Raking A Shadow Parent and Child Atop a Cellphone The Super Wealthy Brick Wall Eagle and Ropes Painting Blank Space Exercise Football and Bag of Money Worm in an Apple Head in the Clouds

What’s your opinion on this issue?

‘Cowboy Carter’ New Stamp Design Prizewinning Miniature Poodle Cicadas for Dinner Met Gala Student Orchestra Tech in the Classroom Salt Movie Memorabilia 100 Years of Furniture March Madness Texting Styles Concerts Leap Day Broadway Shows Ice Cream Celebrity Feuds A.I.-Generated Faces World’s Largest Cruise Ship Your Energy Playlist Taylor Swift and the N.F.L. In-and-Out Lists Contenders Coveted Cup Your 2024 Most-Anticipated List 2023 in Pictures Style in 2023 $700 Million Deal Dream Décor Skipping School Giving Tuesday Pop-Tart Critic Time Change Pink Jersey Floating Home The Mall Breaking Police Robot Celebrity Relationships Fall Music New iPhone Tiny Homes Floods in Libya Football Season Land, Man and Sky Fall Video Games

Students 13 and older in the United States and Britain, and 16 and older elsewhere, are invited to comment. All comments are moderated by the Learning Network staff, but please keep in mind that once your comment is accepted, it will be made public and may appear in print.

Find more Picture Prompts here.

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James Mangold Explains His Writing Process Vs. How He Directs: ‘I Have Learned This Way of Working from Watching Masters I Admire’

Harrison richlin.

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In a recent response post on X, (formerly Twitter, ) Mangold explained his creative process and how it was passed down from these “masters,” as well as gathered from watching the work of others.

“I have learned this way of working from watching masters I admire. Some masters have been my teachers in person. Many more have been my teachers as I absorb their great work and dissect it,” Mangold wrote. “In practice, I write describing what I hope to see and hear.”

Mangold went on to dismiss the use of terms like “EXTREME CU or WIDE ON” in his scripts, instead choosing to describe surroundings or “the light in a character’s eyes.” At the same time, when he shifts behind the camera, he doesn’t hold too tight to any of the specifics he wrote down.

“When I direct, I don’t expect all the things I wrote to be followed literally by my actors or even myself. Instead I expect myself to adapt my original intentions and plans on paper to take advantage of what is actually happening,” Mangold wrote in his post. “That is not to say I abandon my intentions. It is like when you are driving somewhere. You make a plan on how to get there but then you hit traffic or a storm, or see a side road you want to explore. I feel I wouldn’t be alive if I just stayed on my original route. So I adapt to what is happening. But I do this without losing the goal of where I am driving.”

Read the entire post below.

Thanks for the question, Joe. I write AND I direct to elicit your engagement with the world my actors and crew are creating on screen. I hope to lock you in. Yes I want you to feel things but more so I want you to lean in and to ask questions. Sometimes it is not merely one… — Mangold (@mang0ld) July 22, 2024

Most Popular

Which is the Best AI Writing Tool?

What are ai writing tools.

AI writing tools are software applications that use artificial intelligence to help users create written content. These tools can assist with various writing tasks, such as generating ideas, drafting text, correcting grammar, and optimizing content for search engines. Here are some key points about AI writing tools:

Automation : AI writing tools can automate repetitive writing tasks, saving users time and effort.
Improved Quality : They can increase the quality of writing by suggesting better word choices, correcting grammatical errors, and ensuring proper sentence structure.
Versatility : These tools can be used for a wide range of writing activities, including essays, articles, emails, social media posts, and marketing content.
User-Friendly : Many AI writing tools are designed to be easy to use, with simple interfaces and intuitive features.
Customization : Users can often customize the output to match their preferred style and tone, making the content more personalized.

Overall, AI writing tools are valuable for anyone looking to improve their writing efficiency and produce high-quality content.

The best AI writing tool in 2024 depends on what you need it for. Jasper is great for creating both text and images. Copy.ai is perfect for marketing content. Rytr.me offers lots of features for free. Writesonic is excellent for quickly writing articles. Simplified helps with creating and scheduling social media posts. INK is best for improving your content’s SEO. Each tool is good at different things, so the best one for you depends on what kind of writing help you need.

Top Features to Consider When Choosing a Free AI Writing Tool

Here are some things to consider when choosing a Free AI Writing Tool to make your writing experience better:

Content Ideas: Find tools that can generate ideas for articles, blogs, or social media posts. AI tools that help you come up with new ideas are really helpful.
Writing Style: Look for tools that can help you adjust your writing style. Whether you need to sound professional, casual, or persuasive, AI can help you get the right tone.
Organization: Make sure the tool lets you organize your writing. It should help you structure your work so it makes sense.
Editing: Check if the
tool can edit and proofread your writing. AI can catch mistakes and suggest ways to improve your writing.
Time-saving: Choose tools that save you time. They should help you write faster by automating some tasks or giving you quick suggestions.

Try out different options to see which AI writing tool works best for you and your writing goals!

The Best Free AI Content Generation Tools Ranked

Writecream : Best for AI-powered personalized content creation.

Simplified : Best for free social media content generation and scheduling.

INK : Best for optimizing content with AI for SEO .

EasyPeasy : Best for quick and easy AI-generated text.

Copy.ai : The top choice for sales and marketing content generation.

Rytr.me : Offers the most generous free plan.

WriteSonic : Best for free article generation with AI.

Neuroflash : Best for generating creative and marketing copy.

Jasper : Best combination of free AI image and text generation.

WriteMe.ai : Best for AI-driven email writing and automation.

Comparison of Top 10 Free AI Writing Tools

AI Writing Tools	Use Cases	language support	Free Plan	Pricing
Neuroflash	108	11	2000 words/month	$32.90/month onwards
Copy.ai	90+	25+	2000 words/month	$36/month onwards
Rytr.me	40+	35+	~ 2500 words/month	$9/month onwards
Writecream	40+	75+	10,000 words/month	$26/month onwards
Simplified	70+	20+	3000 words/month	$11/month onwards
Jasper	90+	30+	10,000 free credits for 5 days	$39/month/seat onwards
WriteMe.ai	40+	34	2000 words/month	$10/month onwards
INK	120+	1	2000 words/month	$39/month onwards
EasyPeasy	80+	40+	1000 words/month	$4.99/month onwards
WriteSonic	70+	25+	1000 words/month	$13/month onwards

Top 10 Free AI Writing Tools

As you now know, AI writing tools offer invaluable support to content creators, assisting in various aspects of the content creation process. From generating fresh ideas to refining writing style and enhancing efficiency, these tools empower creators to produce high-quality content effectively.

Similarly, considering the features of AI writing tools is essential when choosing the right one for your needs. Look for tools that offer content generation capabilities, writing style refinement, organization support, editing and proofreading assistance, and time-saving features . These functionalities play a crucial role in optimizing the content creation process.

With this understanding of how AI writing tools can benefit content creators and the key features to consider, let’s dive into the Top 10 AI Tools for Content Creators.

AI Rewriting Tools :

Writecream is one of the top artificial intelligence writing tools that allows users to create 10,000 words per month for free . As one of the leading AI rewriting tools, it is used for generating social media copies, email formats, blogs, copywriting, and more. Users can create long-form content in 75+ languages . Writecream helps users save time by automating the writing process, allowing for faster content creation without sacrificing quality.

Writecream - Free AI Writing Tools for Content Creators

Writecream Features

40+ use cases
Supports 75+ languages
Browser extension available
Long-form content creation possible

Best for: Generating long-form content in multiple languages.

Writecream Pricing

It offers a free version.
Unlimited: $29/month
Standard: $49/month
Extended: $69/month

For current pricing, please visit the official website.

Website Link : Writecream

Simplified is a great option among the free AI writing tools with a decent list of 70+ AI templates . It enables users to generate 3000 words per month for free , suitable for blogs, product descriptions, website copies, e-commerce content, and more. It supports 20+ languages and offers 12 tones for content molding . Simplified includes scheduling features that allow users to plan and automate their social media posts across various platforms, saving time and effort.

Simplified AI - Free AI Writing Tools for Content Creators

Simplified Features

Supports 20+ languages
12 content tones
Long-form content generation possible
Image generator available

Best for: Users needing a variety of templates and content tones for diverse writing needs.

Simplified Pricing

It has a free version.
Pro: $11/month
Business: $29/month
Agency: $119/month

Website Link : Simplified

INK is an AI writing tool and SEO optimization assistant designed to help users create high-quality, search-engine-friendly content. INK is an old player compared to these latest AI rewriting tools . It has been providing a commendable AI-driven platform where you can generate 2000 words for free in a month. It offers 120+ use cases and it’s impressive. It supports various types of content creation, from web copy to long-form articles, making it a versatile tool for different writing needs.

INK - Free AI Writing Tools for Content Creators

INK Features

120+ use cases
Blog and email writing tools
Relevant image finder
Ease of use

Best for: Dedicated blog and email writing with a massive use case library.

INK Pricing

Professional: $39/month
Enterprise: $99/month

Website Link : INK

EasyPeasy is one of the best Artificial Intelligence writing tools for copywriting, social media, blog creation, resume writing, and more. As one of the top AI rewriting tools, it supports 40+ languages and can even generate images. This tool can be used for long-form content and transcription. EasyPeasy helps users save time by automating the writing process, allowing them to produce content faster without sacrificing quality.

EasyPeasy - Free AI Writing Tools for Content Creators

EasyPeasy Features

80+ use cases
40+ language support
AI image generation and transcription
Output settings for customization

Best for: Beginners needing a tool for diverse writing needs, including image generation and transcription.

EasyPeasy Pricing

Basic: $4.99/month
Unlimited GPT-3.5: $9.99/month
Unlimited: $20/month

Website Link : EasyPeasy

AI Content Writing Tools

Copy.ai is one of the best AI Content Writing Tools for content creators that run on a GPT-3 model. It offers to generate 2000 words per month for free. Users can access over 90 use cases in 8 different tones for creating email formats, letters, social media content, blogs, etc. Copy.ai excels at creating persuasive sales copy, engaging marketing content, product descriptions, and ad copy, making it ideal for businesses aiming to boost their marketing efforts.

Copy.AI - Free AI Writing Tools for Content Creators

Copy.ai Features

8 tones and 90+ use cases
Has Language prediction model
Ideal for online content and product description

	Cons

Best for: Creating diverse types of online content and product descriptions.

Copy.ai Pricing

Pro: $36/month
Team: $186/month
Growth: $1000/month
Expansion: $2000/month
Scale: $3000/month

Website Link : Copy.ai

Rytr.me is a popular choice among the free AI content writing tools for newbie writers. This tool allows you to generate 10,000 characters per month for free. It is ideal for creating business letters, blogs, email formats, e-commerce content, and social media content . The tool includes features that help optimize content for search engines, improving the chances of ranking higher in search results.

Rytr Me - Free AI Writing Tools for Content Creators

Rytr.me Features

10,000 characters per month
Supports 35+ languages
22 writing tones
Plagiarism checker

Best for: Beginners looking to create business letters, blogs, and social media content.

Rytr.me Pricing

Saver: $9/month

Website Link : Rytr.me

WriteSonic is one of the top free AI Content Writing Tools that run on a GPT-3 model. It can create efficient content in 25+ languages and offers over 70 use cases. This tool is ideal for writing 1000 words for free in a month for creating ads, marketing copies, social media posts, website copies, etc. WriteSonic excels at creating high-quality articles, making it a top choice for bloggers, content creators, and marketers who need well-written content fast.

WriteSonic - Free AI Writing Tools for Content Creators

WriteSonic Features

GPT-3 model
70+ use cases
Supports 25+ languages

Best for: Creating short-form content such as ads, social media posts, and marketing copies.

WriteSonic Pricing

It offers a limited free trial period.
Small Team: $13/month
Freelancer: $16/month
Enterprise: $500/month

Website Link : WriteSonic

AI Blog Writing Tools

Neuroflash is one of the most popular AI writing tools that run on GPT-3, an efficient language prediction model. It offers a free plan of 2000 words per month. This online tool generates email formats, blogs, website content, social media ads, and is also recognized as one of the top AI blog writing tools.

Free AI Writing Tools for Content Creators

Neuroflash Features

Supports 11 languages
Good For Team collaboration
108 use cases
Has Inbuid API integration

Best for: Team collaboration and generating various types of content with support for multiple languages.

Neuroflash Pricing

Standard: $32.90/month
Pro: $87.72/month
Business: $329/month

Website Link : Neuroflash

Jasper is an impressive option among the artificial intelligence writing tools for brand voice. Its exclusive content creation focuses on creating a brand image and sticking to it. This tool is ideal for emails, blogs, social media posts, and is especially noted for its effectiveness as one of the top AI Blog Writing Tools.

Jasper - Free AI Writing Tools for Content Creators

Jasper Features

90+ AI templates for use cases
60+ copywriting tools
Business-specific tone and output
AI art generator
Chrome extension available

Best for: Creating high-quality content with a focus on brand voice.

Jasper Pricing

It offers a free plan.
Pro: $59/month/seat
Creator: $39/month/seat
Business: Customizable

Website Link : Jasper

AI Tools for Writing Emails

WriteMe.ai is particularly effective for generating professional and personalized emails, making it ideal for business communications and customer outreach. WriteMe.ai is another choice among the GPT-3-run AI writing tools for all kinds of content creation needs. This tool has been trained with 90 million parameters and over 5 million articles for precise text prediction. It allows users to generate 2000 words in a month for free.

WriteMe - Free AI Writing Tools for Content Creators

WriteMe Features

Supports 34 languages
22 tones for content modes
Long-form content creation

Best for: Generating high-quality long-form content with a minimalist user interface.

WriteMe Pricing

Pay Go: 10,000 words for $8
Freelance: $10/month and 15,000 words for $8
Agency: $25/month and 15,000 words for $6
Enterprise: $50/month and 15,000 words for $5

Website Link : WriteMe.ai

As we wrap up our exploration of the top 10 free AI Writing Tools in 2024, it’s evident that these tools are not just conveniences but necessities in today’s digital content landscape. Utilizing free AI writing tools allows both novice and seasoned content creators to enhance productivity, improve content quality, and maintain a consistent output. Studies indicate that AI tools can reduce the time spent on content creation by up to 30% , enabling creators to focus on creativity and strategy. Whether you’re crafting blog posts , social media content , or professional articles , integrating these AI tools into your workflow can transform your content production process, making it more efficient and effective. Embrace these innovations to stay competitive and deliver compelling, high-quality content to your audience.

Best Free AI Writing Tools for Content Creators -FAQs

Which ai writing tool is ideal for long-form content.

Writecream, Simplified, and WriteMe.ai are the best AI content generator tools for creating long-form content from scratch.

How can I choose an AI writing tool?

Choose an AI writing tool based on the following features. Learning model Output control Ease of use Conversational interface Affordable plans

Which AI writing tool is entirely free?

ChatGPT can serve as an AI writing tool which is entirely free. however, its output is not impressive and it sometimes hallucinates.

Is there a free AI tool to write content?

Yes, there are free AI tools available for writing content, such as OpenAI’s Playground , which lets you input prompts to generate text.

Is there a free AI text generator?

Yes, Hugging Face’s Transformers is a free AI text generator that offers various models you can use to create text based on your inputs .

How to create content using AI free?

To create content using AI for free, you can use tools like OpenAI Playground or Hugging Face’s Transformers . Just enter your topic or prompt , and the AI will produce the text for you.

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Why the growth of AI in making art won’t eliminate artists

Professor, School for the Contemporary Arts, Simon Fraser University

Disclosure statement

Arne Eigenfeldt has received funding from the Canada Council for the Arts and the Social Sciences and Humanities Research Council of Canada.

Simon Fraser University provides funding as a member of The Conversation CA.

Simon Fraser University provides funding as a member of The Conversation CA-FR.

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Generative artificial intelligence (AI) has been in the news, most recently concerning the Hollywood actors’ strike about the potential impact of AI in filmmaking . Another story involved AI being used to replicate the voice of the Canadian rapper Drake in a track that went viral .

These stories raise questions about performers’ rights, and also lead people to wonder: will AI replace artists?

These questions are also germane given recent advances in generative artificial intelligence trained on a vast amount of existing images that have been used to create new images based only on user-provided prompts.

Read more: Two authors are suing OpenAI for training ChatGPT with their books. Could they win?

I am a composer who has used creative AI in my music and sound practice for almost two decades. My creative practice and research has focused upon the potential for a collaborative relationship between artists and AI. From my perspective, while we are in a time of disruption where many artists will need to renegotiate terms of their labour in a new technological context, there are also opportunities for different forms of collaboration.

AI-generated images

AI-generated high-quality images range from concept art for video games to photorealistic works.

Examples of generative AI visual art include fantastical images:

Astronaut playing a violin while riding a blue horse in a field of sunflowers.

Works can also mimic the style of existing artists.

Young person holding a bullhorn and a red flower in the style of Banksy

The freely available online systems used to create the above images are examples of the progress made in artificial intelligence being used to generate novel material. Perhaps the biggest advance is these systems’ ease of use: they are readily usable and accessible to the general public.

Will AI replace artists?

On one hand, the answer to whether AI will replace artists is no.

Generative AI is a powerful tool that can expand the possibilities of art making and will still require the guiding hand of a human artist. As with any new technology, some creative processes will become both easier and less time-consuming with AI.

For example, an artist interested in generating visual imagery can suggest a prompt and the AI produces it immediately. Instead of taking hours or days to experiment with an idea, it may take minutes or even seconds.

The current image-producing systems still require human interaction through both a text prompt and the curation of its output, itself an artistic act .

On the other hand, these limitations will soon be overcome: human-provided prompts can easily be replaced by generated prompts (which some systems already allow for).

Research into creative AI has already produced systems that can evaluate their own output through aesthetic judgements (rather than only mimicing its data set ).

As such, there is the very real potential that an endless supply of fully AI-produced artwork will constitute much of the imagery we see online and flood the market.

Reasons to hope

For many practising artists there are reasons to hope.

Creative AI can allow some artists greater time and energy to explore artistic avenues, thereby producing not just more art, but potentially more paradigm-shifting art.

Artist and scholar Philip Galanter , who explores art theory bridging the gap between the cultures of science and the humanities , has defined “generative art” as “any art practice where the artist uses a system, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is set into motion with some degree of autonomy contributing to or resulting in a completed work of art.”

Generative art-making practices have been around for decades ( arguably much longer ). Human interaction with these systems can produce truly stunning work .

Current systems can only produce mashups of existing data. While the output may be novel in that a given output may never have existed previously, its esthetic value may be limited .

AI, labour and creativity

The music industry has been driven by style-replicating processes for decades, in which an artist may produce a genuinely novel work and then others fill the available space around it with variations of that work’s style. It takes true creativity to produce something outside the existing paradigm and AI is nowhere near that stage.

However, it won’t be long before those producers merely creating the same formulaic songs will be in direct competition with AIs that can do so much more efficiently .

The generative AI used to recreate Drake’s voice was trained on many copyrighted songs featuring his voice. In such cases, music industry figures argue this broke copyright law . In this case, an artist used AI as a tool to create something new; it is doubtful anyone would argue it was the AI itself that was being creative. Apart from the legal and ethical question of using his voice, Drake can be considered as being replaced labour.

In the case of Hollywood actors in danger of having their likenesses reproduced in a similar fashion by an AI , it will be directors and producers that are the creative artists, and the actors the displaced labour .

In my own work, I have never viewed AI as replacing anyone. Instead, I consider it an alternate creative voice trained on my own esthetics. I have gone out of my way to continue to work with human artists who interact with my systems .

My latest album places the musebots, my creative AI, before my own name, but still clearly credits the individual musicians with which I — and my AI system — collaborated.

In this work , the AI generated the entire composition, including selecting all the individual sounds. My role (after the musebots were coded) was to listen to the final work and decide whether I should ask my human musical collaborators to play with it.

AI is nothing without humans

We are on the precipice of systems being able to generate entire songs. Many of the roadblocks to such generation have been, or are close to being, solved.

This includes successfully separating the different elements of a song — the melody, the bass, the beat — to allow them to be analyzed individually. Given this information, AI can then begin to understand how music is put together structurally, a major step beyond the current generative models that use simplistic building block methods for creating data.

But like the image-generating systems, AI music will be a mashup of what is already out there. It will require the collaboration of human artists to point it in novel directions and determine whether the output is even worthwhile.

AI will not replace artists in the future; instead, they will be needed more than ever.

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Recipe for roar: how to embrace darkness and make the most of astrology’s lion’s gate portal.

Coming in hot with the heart medicine and the mane shaking, the mythic Lion’s Gate Portal opens on August 8th, 2024, a date observed by ancients, astrologers and numerologists alike.

The portal opens its feline jaws from July 28th – August 12th, but its powers are thought to peak on the 8th.

The Lion’s Gate refers to the annual alignment between the sun in Leo and Sirius, the brightest star in the night sky, also known as Alpha Canis Majoris or Dog Star.

How to prepare for the Lion’s Gate Portal

The Lion's Gate Portal marks the moment the sun in Leo aligns with the Sirius star.

Rachel Stavis , world-renowned exorcist and best-selling author of Sister of Darkness: The Chronicles of a Modern Exorcist, maintains that to make the most of this magical time, we have to honor, express and integrate.

“Forget that peace, love, and light bull—t, it’s time to be powerful, centered, and whole!” Rachel Stavis

Stavis tells The Post, “On the other side of the Lion’s Gate Portal are dreams coming to fruition, change and growth for the positive, and all of us stepping into our power – IF we deal with something we’ve been avoiding: ourselves.”

Ancient Egyptians venerated Sirius’s star power as the personification of the agricultural goddess Sopdet and associated the star’s heliacal rising with the annual flooding of the Nile River and the onset of a new year.

Sopdet is the ancient Egyptian name of the star Sirius.

In this context, Sopdet can be seen as an integration of light and dark, endings and beginnings, the flood before the flourish, so to speak.

How to manifest during the Lion’s Gate Portal

View this post on Instagram A post shared by RH Stavis (@rhstavis)

Similarly, Stavis explains that to reap the bounty of this portal, we must first face the dark, “There are two major spiritual aspects of ourselves: our light and our darkness. Many people actively work to avoid their darkness: they ignore it, stuff it down, or bypass that part of themselves. But this is to their own detriment because we can’t move forward—even in abundance—without seeing, understanding, and integrating our WHOLE being.”

How can we determine if we are, in fact, in our power?

Dramatic portrait of man with black mirror on face. Background of white textured wall.

Stavis notes that if you:

Have outbursts over minimal things
Are not speaking up for yourself or not speaking your truth
Are people pleasing
Need external validation
Feel overrun by your emotions

You are likely outside of your power. But fear not, my babies, you can embolden yourself, move forward, roar mightily, and reap the rewards of this season’s Lion’s Gate.

Read on for Stavis’s recommendations for how to reclaim and gain.

Purge with a Lion’s Gate journal prompt

Stavis has a tall order for those of us feeling small: “Write down everything negative you’ve ever thought or said about yourself. I know it’s rough! But this is the deep work required for real change. See those lies! Ask yourself: If I were in my power, what would I REALLY think?”

This exercise is even more necessary as we are in the midst of a Mercury retrograde cycle , during which we are asked to revisit and revise storylines that limit or defeat us. There is no finer time than now, folks.

To harness the power of this portal, we can listen to and act in tune with our regal rage.

Stavis explains, “Many spiritual gurus have taught people that it is ‘low frequency’ to have rage and that our darkness must be transmuted. But this is not accurate. Our rage often forces us to step up, to speak out, and to move into our power. All of this is actually high-frequency!”

To honor the high frequency and divine feminine majesty of our rage, Stavis says we must scream to get closer to the source, “Find somewhere safe (a pillow, the shower, the car) and SCREAM! It can be words, phrases, or just noise. Scream until you’re a bit hoarse, and you’ll finally start to notice the feelings underneath that anger.”

Protect yourself

With retrograde afoot and portals open wide, it’s a jungle out there, folks.

Stavis recommends protecting yourself and your space from unwanted interference and low frequencies with a little salt cure, “Use black salt along the perimeter of your home and outside spaces for a little protective boost. Sprinkle along the areas to create an energetic, safe space.”

Thank your darkness

Burning candle in male hand on a black background

Release is real work, folks, and Stavis imparts that acknowledging and offering thanks to the dark side is part of that work.

“Understand that these shadow aspects of yourself have done a lot of heavy lifting! They’ve protected you, helped you, and comforted you in the past – even if that has changed now. Give gratitude where it belongs, and thank your darkness for getting you this far. Light a white candle and say whatever you’re feeling in the moment about your shadow self.”

Embrace your newfound power

Stavis says, “Forget that peace, love, and light bull—t, it’s time to be powerful, centered, and whole! Let go of what you think spirituality ‘should” look like, and embrace all that it is.”

To root down and level up, Stavis advises, “Find a comfortable place to sit outside. Take three grounding breaths. When you feel ready, ask Spirit to integrate all parts of yourself without any bias. Allow yourself to feel this happening (rushes of the spine, hot and cold in places, tingling sensations throughout the body, etc). When you feel the ritual is complete, thank yourself for allowing it to happen.”

Benefits of healing and progressing during the Lion’s Gate

Stavis maintains that when you’ve done the work to face, integrate, ask, and allow, you’ll notice the following benefits:

You have fewer outbursts because you have self-ownership
You speak up when you must
You need nothing from others but feel gratitude when you receive
You understand your emotions and have no fear of integrating them

Operating from this place of fullness will ensure that the energy of the Lion’s Gate can be received in full and directed towards richness of every kind!

As Stavis explains, “This year’s wild, fearless, powerful energy is asking you to embody these aspects. Can you be wild, fearless, and powerful? If so, the sky’s the limit this fall! Nothing will be able to stop you, and the joy you will feel is only the beginning!”

Meow.

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IMAGES

Teaching Students How to Write Commentary for the Literary Analysis
Writing a commentary- Process and Example
FREE 7+ Commentary Writing Samples and Templates in PDF
Five Ways to Target Commentary for Essay Writing
FREE 7+ Commentary Writing Samples and Templates in PDF
How to Write a Literary Commentary: 14 Steps (with Pictures)

COMMENTS

An Example Critical Commentary
An Example Critical Commentary. Our latest assignments came back within four days of submission—a fast turnaround. Mine scored a high merit. Its main weaknesses were: I should have mentioned more works of dystopian literature, rather than other media such as film and television drama. I had brought in the other media because part of the essay ...
Writing a good reflective commentary
The reflective commentary is not an academic essay, so you don't need to use academic jargon. Use first person, because it's a personal reflection on your work. However, don't be too colloquial and chatty either - your tone needs to be moderate and considered. Don't say "I tried to do X but it was rubbish".
Writing a good creative reading commentary
Here are some exercises that will help you build up your Creative Reading Commentary: 1) Close Reading. Take an excerpt by your chosen writer and look at it in depth. Examine all the techniques used by the writer in that short extract and make some notes (even if these aren't all included in your final CRC).
Creative writing commentaries: don't know where to start?
The first commentary on any creative writing that I had to write - or read - was the 30,000 word commentary I wrote for my PhD in Creative Writing. I didn't find it easy. The next I tangled with were the 300 word commentaries that my Open University students have to write for their course. They don't - most of them - find it easy either. Of course, most writers take some kind of notice of what ...
Writing a Literary Commentary: Guidelines
There are no fixed rules for writing a commentary, but a general structure will be suggested. You should always PLAN your commentary before you start writing it, following these guidelines where appropriate. 1 Introduction. Put the passage into context, and summarise its arguments briefly (in a few sentences): do not spend too much time ...
3 Ways to Write a Commentary
Make sure to use smooth transitions. When you move to a new example, use a good transition word or phrase. Some examples are "similarly", "conversely", and "again". 6. Write a strong conclusion. Your conclusion is the piece that will tie the rest of your commentary together. Make sure to include a summary of your argument.
How to Write a Literary Commentary: 14 Steps (with Pictures)
2. Highlight keywords in the text. Take a pen, pencil, or highlighter and mark any words that feel important in the text. Look for words that are bolded or italicized in the text, as this likely means they are important for the author and key to understanding the text.
Score 10/10 on the reflective commentary
Having scored a 10/10 in my own reflective commentary, I will provide a structure that can be used to ensure you are including everything you need. I discussed my own reactions to the original text, and described how I wanted to rouse similar reactions in the reader of my creative response. In your reflective commentary, it can be easier to put ...
From Summary to Insight: A Guide to Writing Commentary ...
4. Evaluating - Examining different aspects of an issue or argument and determining its worth or value by expressing an opinion about it. Using these four points as a framework for writing your commentary essays can help you to be more effective in your analysis, summary and evaluation of any given topic.
How to Write a Commentary That Engages and Persuades [GUIDE]
Writing a Commentary with ChatGPT. ChatGPT can assist you in crafting a compelling commentary by providing guidance on structure, evidence integration, and personal insight articulation. Prompt: Help me write a commentary on [specific subject or event]. I need to develop a strong thesis statement that encapsulates my main argument.
DIY: How To Write A Commentary
Assert a clear point of view/opinion. Connect your story to broader social themes. Use concrete examples and stories in your writing. Replace general statements with concrete examples that bring readers inside moments of your life. Include opposing points of view, arguments and/or research. Write conversationally, like you speak.
PDF WRITING YOUR CRITICAL REFLECTION
Priscilla Morris. Writing reflectively develops your awareness of how you created a poem, story, script or piece of creative non-fiction. It deepens your understanding of your writing process and acknowledges the literary influences that fed into and shaped your writing. It's a myth that poems and stories are created in a burst of inspiration ...
What is the point of a Reflective Commentary
What is the point of a Reflective Commentary. A good many students look upon the Reflective Commentary as a nasty trap set by module writers and tutors to catch writing students unawares. And unless students understand the purpose of a reflective commentary it can indeed become a trap, or something that trips the student writer up.
Easy Steps To Write A Commentary Effectively
When writing a commentary, try to do the following things: Read the text several times. Read each word carefully and try to understand what the writer is trying to say. Try to understand the meaning. You may want to underline major concepts, ideas, arguments, quotes. Underline anything that you think will help you.
Commentary Essay Example, Writing Guide, and Tips
Key Components of a Commentary Essay. 1. Introduction: Begin your essay with a captivating introduction that presents the topic and provides context for the reader. 2. Thesis Statement: Craft a clear and concise thesis statement that outlines your main argument or perspective. 3.
Teaching Students How to Write Commentary for the ...
Writing commentary is undoubtedly the most difficult part of writing any essay. All other parts of the essay are more formulaic in nature. There are standard rules for how to write a thesis statement, a topic sentence, a blended quotation, etc. But when it comes to commenting on evidence, there isn't one set way to do it.
The Writer's Process: How to Write a Reflective Commentary for A Level AQA
This resource makes teaching commentaries suddenly seem pretty easy. The author has done every teacher of creative writing a big favour. It gives clear and precise advice on how to do a commentary. Lots of examples and particular guidance. Would save anyone teaching the syllabus a lot of work.
Creative Writing Commentary. D:
To put it simply, a commentary is a piece of work in which you need to discuss the decisions you made while writing your creative piece. For example what influenced you on the story or plot, in the characters too. Also you need to talk about linguistic devices (if you've used any, say why not if you haven't) and things like form, structure and language. Things like mood and tone are also ...
How to Write a Commentary
Students were asked to write a commentary based on science writer Erik Vance' and his presentation of The Placebo Effect and Mind Over Body. Listening to the speaker was extremely important as well as observing a deconstructing body language. Students were expected to ask questions, take pleny of notes and come up with a thesis statement. The Curriculum focus: Science, Language Arts, Creative ...
Guidelines for writing a commentary
Use a short title that emphasizes your key message. (It should be clear in context that all commentaries are a reaction to a particular paper). Do not include an abstract. Make clear your take-home message. Make sure there is full author information (name, affiliation, address, phone, email) for all authors.
How to Critique Creative Writing
Write these first general impressions at the end of the piece for the writer. 2. Now consciously read the piece through more critically. Even though you may have been very enthusiastic about the piece initially, that doesn't mean that now on the second pass, you can't see some ways to improve it.
Full article: Guidelines for writing a commentary
Use a short title that emphasizes your key message. (It should be clear in context that all commentaries are a reaction to a particular paper). Do not include an abstract. Make clear your take-home message. Make sure there is full author information (name, affiliation, address, phone, email) for all authors.
The Ultimate Guide to the VCE English Framework of Ideas
The Framework of Ideas gives students four themes to explore in creative writing. In 1/2 English, your school and teachers are free to select the Framework of ideas and the texts they will use for Unit 1, Outcome 2. In 3/4 English VCAA provides these four themes to pick from: Writing about country. Writing about protest.
Remembering James Heffernan, Prolific Literature Scholar and Champion
In addition to his scholarly writing, Heffernan wrote extensive political commentary. Between 2005 and 2017, he published nearly 70 columns in the Huffington Post, with topics ranging from abortion rights and immigration to terrorism and the Israel-Palestine conflict.
142 Picture Prompts to Inspire Student Writing
In October, we invited students to use this illustration to inspire them to write the opening of a short story or poem. The illustration was originally published with an article about Y.A. Thrillers .
Opinion: Joy is more than a feeling. Listen to what it's telling you
Sometimes, writing about poems here at CNN, I felt like a stealth poetry whisperer. But those of you who joined me in this space seemed to savor the whispering, writes Tess Taylor.
James Mangold Explains His Writing Process Vs. How He Directs
I write AND I direct to elicit your engagement with the world my actors and crew are creating on screen. I hope to lock you in. Yes I want you to feel things but more so I want you to lean in and ...
Top 10 Free AI Writing Tools in 2024
These tools use advanced technology to help you write faster and better. Whether you need help with essays, articles, emails, or social media posts, there's a free AI writing tool that can make your job easier. People use free AI writing tools because they save time and improve the quality of their writing. These tools can suggest ideas ...
Why the growth of AI in making art won't eliminate artists
Image created by the author in dreamstudio.ai using the prompt: 'Young person holding a bullhorn and a red flower in the style of Banksy.' The freely available online systems used to create ...
How to manifest during astrology's powerful Lion's Gate Portal
Coming in hot with the heart medicine and the mane shaking, the mythic Lion's Gate Portal opens on August 8th, 2024, a date observed by ancients, astrologers, and numerologists alike. Lear how ...

Masters Degree Creative Writing: A Journal

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AoS 1: Adaptations and Transformations

AoS 2: Close Analysis

Scope of Study

‍ Unit 4: Interpreting Texts

Writing the Introduction

Extra Resources

1. Start wide and narrow down.

2. Start narrow and go wide.

1: Write Down/Outline/Revisit Your Goals

2: Look for Gaps in Your Understanding

3: Pomodoro Technique

4: Prioritise Your Mental and Physical Health

5: Don’t Compare Your Motivation Levels to Others

6: Remind Yourself That This Won’t Go on Forever

Introduction

Body paragraphs:

Conclusion:

What are Literary Perspectives?

What are you expected to cover/do? (Literary Perspectives Criteria)

Approaching the Task

SACs, Exams, and Allocated Marks

How to Prepare (and Improve!) for your Close Analysis SAC and Exam

Psychoanalysis:

Literary perspectives

External or Contextual references

Getting started

Understanding Context

Part A of the SAC: An Initial Interpretation

Part B of the SAC: The Supplementary Reading

Self-Reflection and Reinterpretation

Further Resources

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From Summary to Insight: A Guide to Writing Commentary Essays with Depth

What Is Commentary In An Essay?

The Significance Of Commentary In Essay Writing

Key Elements Of Effective Commentary

Strategies For Writing Potent Commentary In Essays

Develop a strong thesis statement

Understand the topic better

Body And Paragraphs Organized

Use literary analysis

The Use Of Quotations And Examples In Commentary

Types Of Commentary In Essays: Comprehending The Contrasts

Strategies For Writing Commentary In Literary Essays

Writing Commentary For Convincing Essays

Creating Commentary That Supports Your Thesis Statement

Common Mistakes To Avoid In Commentary Writing

Avoiding Overgeneralization