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English & EAL

The Ultimate Guide to Year 10 English

November 2, 2021

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Go ahead and tilt your mobile the right way (portrait). the kool kids don't use landscape..., 1. what do year 10s learn in english, 2. year 10 english curriculum breakdown, 3. year 10 english texts, 4. how to get good marks in year 10 english.

Year 10 English is when the Pre-VCE year kicks in. Most schools will treat it as an opportunity to expose you to the VCE curriculum, but with Year 10 level texts. This means they’ll cover the same assessment tasks and begin teaching you the skills you need to have by the time you get to VCE.

Other schools will use this year to prepare students for the different English subjects that are offered at the VCE level, so they can decide by the end of the year. These may include VCE English/EAL, VCE Literature and VCE English Language.

For this blog, we’ll focus on the current Victorian Year 10 Curriculum (this will be updated as they change).

Similar to the VCE years (Year 11-12), most Year 10’s will be expected to complete the following assessment tasks:

Text Response

• Comparative text response
• Creative (with a written explanation)

Argument Analysis

Under each area of study, there will be key skills that you will need to learn to nail the accompanying assessment tasks.

Considering what you would have learnt in Year 9, Year 10 builds on those skills a bit further. Fundamentally, you would need to provide more detail whenever you’re expected to analyse evidence or provide an explanation and there will be specific essay structures your teacher will want you to follow. This may vary depending on your school.

Check out ' What should Year 9 students expect when they enter Year 10 ' for a more in depth breakdown of the Year 9 to 10 transition!

Let’s break down each assessment task you’re expected to complete as mentioned above.

Watch our video What kind of assessments can you expect at a Year 10 level!

Many Year 10 students will be introduced to the world of annotations when going through the text response unit. This is because the text will need to be understood inside out for you to score highly on the essay.

When you begin annotating your text, look for the following:

• Key ideas explored by the author
• Characterisation and character transformation
• Social/Historical/Cultural/Political context
• Stylistic features used by the author, such as symbolism, motifs, etc.
• Words you don’t understand (and then define them)

To help you have a better understanding of your text, teachers will usually assign you comprehension questions about your text and that will be their way of easing you into writing analytical body paragraphs.

Examples of prompts you may receive for text response include:

• ‘Night paints a vivid picture of a broken society in a broken place.’ Discuss.
• ‘Holden’s critique of phonies in The Catcher in the Rye is his way of critiquing society.’ Do you agree?

As important as the keywords are in the prompt, you need to be able to identify the type of prompt you have chosen to answer. Similarly, you must take some time to familiarise yourself with the task words that commonly pop up in prompts.

Check out The Ultimate Guide to Text Response to get a more specific idea of HOW you can smash out this essay.

Comparative Text Response

This is oftentimes deemed to be the most difficult area of study students will complete in English. Instead of just interpreting and analysing one text, you’re now presented with two texts you will need to find common ideas and themes to discuss.

To get in the high-scoring range you will need to do the following to help you stand out from the rest of your classmates:

• Constantly form links between the texts and the prompt you’re answering
• Consistent and detailed comparison throughout the essay between the two texts
• Be able to demonstrate a depth understanding of the texts
• Refer back to the writer’s views and values (their intention/message to the reader)
• Explore the different ideas expressed by the author
• Examine HOW the author has created certain effects on the reader , taking into consideration their use of narrative and stylistic choices
• Use relevant metalanguage

We also have The Ultimate Guide to VCE Comparative to help you break down HOW you can best prepare for this assessment task.

If you would like to know the pros and cons of the different comparative essay structures you can follow, check out this blog .

Creative Task

This particular assessment will generally be based on the text you have studied with your class. It may be a collection of short stories, a novel, poems, etc. The majority of the time, teachers will expect you to pick one of the characters from the text and write an alternate plot for them while also mirroring the style of the original text . 

Sometimes, teachers will allow you to pick the story and character you get to focus on, other times, they’ll provide you with a list you can choose from. If you’re given free rein for this task, check out our creative ideas you can adopt.

A written explanation usually accompanies this assessment task as well. This is where you break down your creative task for your teacher, sharing with them your purpose for writing it the way you have. You will address your language choices, themes, literary devices used, intended audience, etc. This tends to be around 200 words in length. Here’s a blog that explains HOW you can write the best written explanation.

Some more creative writing resources to help you out with this assessment:

• How To Achieve A+ In Creative Writing
• How YOU Can Be A Better Creative Writer! For ANY Student
• 11 Mistakes High School Students Make In Creative Writing

Mimicking the analysing argument essay you will need to complete in both Year 11 and Year 12, you will be expected to:

• Demonstrate your understanding and knowledge of both written and visual features of persuasion in your analysis (this is where the intended effect of the writer comes into play)
• Be able to identify and explain your assumptions with sophistication 
• Show insightful knowledge of both explicit and implicit meaning within the texts
• Prove that you know HOW language choices can influence the audience
• Use relevant metalanguage (this may include persuasive devices, language or visual techniques)

Some schools like to pick a specific issue to focus on, for instance, social media. All of the articles and tasks they assign their students to analyse will then be focused on this issue. Other schools will expose their students to a variety of different issues. Either way, you will be exposed to a variety of persuasive material and forms, including opinion pieces, speech transcripts, editorials, cartoons , etc. This is elaborated on in The Ultimate Guide to VCE Language Analysis .

Different schools will teach different analysis techniques. One of the most common ones includes the WHAT-HOW-WHY method . This will be applicable when you move into Year 11 and 12 English too.

Introductions for this particular essay are just as straightforward and can be quite formulaic. Check out our YouTube video on how to write an A+ language analysis introduction to learn the elements you need in an argument analysis introduction. If you’re curious about the writing process for the entire essay, then check out this video .

A lot of the time in Year 10, you will also be unpacking media advertisements. This will tie into the argument analysis area of study.

Here, you may be analysing HOW and WHY advertisements are created the way they are and the choices made by the creator to influence the specific target audience. Sometimes, you will also have the opportunity to create your own! If this is the case, you will also most likely write up a written explanation of around 200-300 words explaining the choices you have made.

As you would have read in The Ultimate Guide to Year 9 English, reading is one of the most important skills that need to be maintained as you progress through high school.

Here is a list of 10 texts many students at a Year 10 level may have read:

• Animal Farm by George Orwell
• Jane Eyre by Charlotte Bronte
• Lord of the Flies by William Golding
• Of Mice and Men by John Steinbeck
• Pride and Prejudice by Jane Austen
• The Book Thief by Markus Zusak
• The Great Gatsby by F. Scott Fitzgerald
• The Life of Pi by Yann Martel
• The Simple Gift by Steven Herrick
• To Kill A Mockingbird by Harper Lee

How many of these texts can you tick off the list? 

a) Knowing Where to Start

Of course, it’s important to acknowledge your strengths in English; however, to improve upon your marks and do even better, you will also need to fine-tune your weaknesses . Merely relying on strengths won’t be enough anymore. 

Identify the skills you need to improve and be specific!

For example, ‘I need to make my introductions shorter and simpler’ or ‘I will plan my essay more extensively so I will know which pieces of evidence will be relevant for each body paragraph.’

If this is the case, writing a million essays won’t get you to where you want to be. It would be inefficient and a waste of everyone’s time. Hone down your focus to one or two things , instead of every skill that falls under essay writing. 

Referring back to the above example, if you want to make your introductions shorter and simpler, read through a few sample high-scoring introductions and test them you can adopt for an introduction and know which one will work best for you. Or if your pain point is the planning process, compile different essay planning templates and use them in your essay planning so you can narrow down your options for different types of prompts.

This way, starting small will help you improve without overwhelming you so much. Check out How I Went From Average To A+ In High School English to get that boost of motivation and confidence before you embark on this learning journey.

As you do this, don’t forget to keep in mind the 7 Deadly (English Writing) Sins you should always avoid!

b) Work With Your Teacher

As we’ve explained in our Instagram post on the feedback loop , getting feedback for your essay or paragraph from your teacher and tutors will also help you improve much faster !

If you’re not familiar with the essay writing feedback loop process, it goes:

• Step 1: Write a paragraph(s) or essay
• Step 2: Get input on what works and fix what doesn’t (this input can come from your teacher and/or tutor)
• Step 3: Redraft or write a new one to test your skills
• Step 4: Repeat

Whether it’s just a plan, an introduction, a body paragraph or even a complete essay, taking the initiative to seek help from your teacher will provide you with clarity on what it is you need to be working on. This is crucial if you want to jump from a C grade to an A+. 

Each time you write a practise essay or paragraph, you should have a goal in mind so you know what you’re trying to improve upon. This way, you can cut down your workload and reduce study time !

I would recommend you do this as many times as necessary until you get that 10/10 essay so you can use it as a template or model essay in the future!

c) Write Under Timed Conditions

Even though a lot of the time in Year 10, teachers will be a bit more lenient so they’ll permit you to bring in a cheat sheet into the exam or assessment. However, that doesn’t always mean you’ll be able to finish on time, so it’ll serve you best to do some additional practise essays under timed conditions. 

Some things to look out for when you do practise writing timed essays or paragraphs:

• Ensuring that your handwriting is legible 
• Trial and error different types of planning methods to find which suits you best
• Know the essay structure you want to adopt for the particular essay
• Avoid ‘fluff’ (unnecessary details) and get straight to the core idea and analysis since that is where you’ll get the marks
• Practise makes perfect! 

Here’s a YouTube video that details how you can go about writing 3 essays in 3 hours which you’ll eventually need to do!

At LSG, we have the most qualified tutors who have received the marks you’re after who can walk you through your high school English journey with you. 

What will we offer you?

• Regular English advice and support (whether that is homework help, essay feedback or if you just want to go the extra mile and get ahead with your English studies)
• A specialised LSG Signature Program that can cater to your goals and help you develop the knowledge and get all the consistent writing practise you need
• Guidance as we work through the necessary writing skills and strategies that will get you the A+ you desire
• Access to exclusive LSG resources that will save you time creating your own notes (planning and writing templates, sample high-scoring essays, and so much more!)

If you want more information on why you should pick us, check out our tutoring page . Otherwise, click here to express your interest today!

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Photograph 51 & The Penelopiad are studied as part of VCE English's Comparative. For one of our most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative .

We've explored themes, characters and literary devices amongst other things over on our Comparing The Penelopiad and Photograph 51 blog post. If you need a quick refresher or you’re new to studying this text pair, I highly recommend checking it out!

Here, we’ll be breaking down a Photograph 51 and The Penelopiad comparative essay topic using LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. If you’re unfamiliar with this strategy, you can learn about it in our How To Write A Killer Text Response study guide.

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

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Without further ado, let’s get into it!

The Prompt:

‘You heard what you wanted to hear.’ ( Photograph 51 ) 

‘Now that all the others have run out of air, it’s my turn to do a little story-making.’ ( The Penelopiad ) 

Compare the ways in which both texts suggest there is power in storytelling. 

Step 1: Analyse

The first step is to deduce what type(s) the essay question is (for a refresher on the 5 types of essay prompts, check out this blog ). I usually find that a process of elimination is the easiest way to determine this. The prompt doesn’t explicitly include the keyword ‘How’, so it isn’t how-based. There are also no characters mentioned in the prompt, so we can rule out character-based. There’s no metalanguage included, so it isn’t metalanguage-based either. However, the prompt does mention the themes of ‘power’ and ‘storytelling’, so yes, it is theme-based. There are also two quotes (one from each text) included as part of the prompt, so it’s also quote-based.

Now that we’ve determined what types of essay prompt are relevant here, the next step is to identify its keywords: ‘the ways’ , ‘both texts ’, ‘power ’ and ‘storytelling’ . 

The inclusion of ‘the ways’ tells us that we must consider different examples from ‘both texts’ where Ziegler and Atwood show us there is ‘power in storytelling’ . The thematic words ‘power ’ and ‘storytelling’ are especially important in your selection of evidence and also your three distinct paragraph ideas, as singling out the thematic keywords will make sure you do not go off-topic. 

Step 2: Brainstorm

Let’s look at the common themes of ‘power’ and ‘storytelling’ that are central to the essay topic, and more specifically, how there is power WITHIN storytelling. In the case of Photograph 51 and The Penelopiad , a common representation of storytelling that is present in both texts is that truthful storytelling is subjective. This means that both Atwood and Ziegler posit that those in power throughout history have been afforded the ability to shape the historical narrative to best fit their interests. Both texts are also set within patriarchal societies - 1950s Britain and Ancient Greece. Therefore, our overall contention in response to this topic can be: 

Both texts suggest that the ability to control the subjective nature of storytelling is a power that has predominantly been afforded to men throughout history .

This opening line addresses ‘power in storytelling’ in a specific way that brings in the contexts of both texts. Each of your paragraphs should fall somewhere under this umbrella of thought - exploring the dynamics of the patriarchal systems within both texts in relation to storytelling. Who tells the story? How does it benefit them? Why not others? 

Step 3: Create a Plan

It is now time to develop the three main ideas that will form your essay structure. It is important to remember that each paragraph should include a discussion of converging and diverging ideas. Try to only use one or two examples from each text in a paragraph, as this way, you will have more time and space in your paragraphs to analyse your literary techniques and quotes. As the old saying goes, show don’t tell! 

P1: Both texts give women a voice through the retelling of their stories from a different perspective. 

Convergent Ideas: 

• Photograph 51 serves as a correction to the history of the discovery of the helix structure. 
• The Penelopiad inserts the female perspective into the famous myth of The Odyssey , giving reasoning and depth to the female voice.

Divergent Ideas: 

• Rosalind’s story is primarily told by the male scientists as the play retells the events, injected with commentary from the male scientists.
• The Penelopiad is a first-person recount from Penelope herself, therefore she is given more agency and control of the narrative.

P2: However, women still lack authority in the shaping of their own narratives as their subjective truth and perspective is often undermined.

Convergent Ideas:

• Predominantly, the narration is told from the male perspective as male scientists narrate Rosalind’s life. Her story is still subject to male opinion.
• The Maids interrupt Penelope’s first-person narrative through the 10 interludes from the maids’ perspective. In doing so, they cast doubt on Penelope’s retelling of the narrative and offer a more truthful perspective.
• Rosalind’s story is often interrupted by other male scientists, therefore more directly illustrating that men have more control over the subjective truth. Despite Rosalind’s story being central to the novel, Ziegler still demonstrates the difficulty women face in being believed and accredited for their contribution to history.
• Penelope’s story is not interrupted by men like Rosalind’s is. Therefore, there is a lack of male dominance in this aspect of the tale. However, the theme of patriarchal dominance is instead illustrated through the lack of authority that the maids have. Despite their account of the events in the tale being the most accurate, their low social status limits the power of their voice in a patriarchal society.

P3: In patriarchal societies, the men ultimately control their own narrative and how they are remembered, amplifying their own greatness by omitting the potential blemishes on their character.

• The male scientists deflect the blame for discrediting Rosalind by instead blaming her cold personality instead of their own deception and inability to cooperate with a woman.
• The execution of the maids is dismissed in the trial of Odysseus as Odysseus’ actions are justified in the patriarchal society of Ancient Greece.

Divergent Ideas:

• The male scientists’ reputations remain untarnished at the conclusion of the narrative, aside from personal guilt and shame. They achieved the scientific success they set out to achieve and were remembered as heroes.
• Unlike the untarnished reputation of the male scientists, the maids curse Odysseus at the conclusion of the narrative.

The ability to control the subjective nature of storytelling is a power that has predominantly been afforded to men throughout the retelling of history (1) . This is a result of the dominance of patriarchal systems, which inherently give men more agency in society to dictate the narrative for the next generations to remember (2) . Both Atwood’s The Penelopiad and Ziegler’s Photograph 51 criticise this power imbalance in historical storytelling and deliver the female perspective in two different eras of history. Each text recognises that the lack of voice women are granted in society undermines and suppresses their contribution to history (3) . Ultimately, both authors question the objectivity of the legacies that men have left behind, casting doubt on the narratives that they have shaped by introducing the underrepresented female perspective (4).

Annotations (1) A ‘universal truth’ or broad thematic statement is a great way to start an essay. This is your overall contention that does not mention the specifics of the texts - it purely deals with the themes of the topic. 

(2) As seen here, your second sentence can be used to back up the universal truth in a way that is more specific to the texts and the ideas you’re going to discuss. In my second sentence, I’ve included more information about the societal power structures that are present within the texts and how men have more power to dictate historical narratives. 

(3) Then, you signpost the three ideas that you’re going to discuss within your essay in a clear, precise and summarised way. Here is where you can mention textual details such as the titles, authors, forms and setting (i.e. 1950s Britain and Ancient Greece).

(4) I have finished off my introduction with an ‘Ultimately’ sentence that discusses the authorial intent of both authors. This offers a broader in-depth look at the topic as a whole, as it acknowledges the author’s intentional decisions about the text. 

By writing narratives that focus on the female perspective in history, both texts afford the female protagonists power through the representation of their voice. Atwood and Ziegler address the imbalance of female input in history and aim to rectify that through representing the contributions women made in both narratives. Photograph 51 , through the form of a play that retrospectively reenacts the events leading up to the discovery of the helix structure, cements Rosalind Franklin as the true genius behind the 'secret of life'. This honour has been credited to Watson and Crick solely throughout history, with them being given recognition of the 'Nobel' and having their names 'in textbooks'. Ziegler firmly details how the key to their success is the 'photograph she took of B', which Watson exploits to eventually win the race to construct the model. Similarly, The Penelopiad is also a societal correction to the lack of female representation in the narratives presented (4) . Written as a first-person narration, Penelope’s aim as a narrator is to be given the opportunity 'to do a little story-making' in this retrospective novel, inserting her perspective into the well-known myth of Odysseus and The Odyssey (5) . The characterisation of Penelope is subverted in Penelope’s retelling, as the generalisation of her character being only recognised for her 'smart[s]', '[her] weaving', and '[her] devotion to [her] husband' is challenged. Atwood contends that Penelope is also determined, self-sufficient and tactile through the narrative voice she grants Penelope as the main protagonist of the text. Rosalind in Photograph 51 is not the narrator of her story, which limits her agency in the telling of her truth in comparison to Penelope, who is able to shape her story the way she wishes (6). Underpinning both of these texts is Atwood and Ziegler’s authorial intention to contend that there is an underrepresentation of female contribution to history, and therefore utilise their texts to give power to female characters in patriarchal systems (7) .

Annotations (4) The transitional sentence between texts can be less jarring and clunky if you introduce your example from Text B in a similar vein to the discussion of Text A. As seen here, I have used my discussion of how Ziegler represents Rosalind in a manner that is seen as a historical correction to then transition into how Penelope also serves the same purpose.

(5) The explicit stating of the first-person narration style in The Penelopiad directly addresses the keywords of 'the ways' from the essay question. By incorporating different textual examples like narration and characterisation (as seen in the following sentence), I’m able to analyse multiple ways that the authors suggest there is power in storytelling.

(6) It makes it easier to discuss your divergent idea if it is directly linked to the converging ideas you’ve already mentioned, just as I have here in pointing out the difference in protagonists and narration. This means you don’t have to waste time re-explaining things from the texts!

(7) I conclude with a more broad statement that references the authors’ intentions in order to finish with a more in-depth exploration, just like the end of the introduction.

Women still lack authority in the shaping of their own narratives as their version of the truth is often undermined. Despite the main motivator for the texts being to empower the women by giving them a voice, both texts also recognise the limitations of a patriarchal society by illustrating the challenges the protagonists face in having their voices heard. By viewing the past through a retrospective lens in The Penelopiad , Penelope is finally able to deliver her perspective, encapsulated in the opening line of 'now that I’m dead I know everything'. (8) The notion that Penelope had to be dead and free of the restraints placed on her voice whilst she was alive in patriarchal Ancient Greece demonstrates the complete lack of authority the voices of women have in establishing themselves in history. This is echoed in the same retrospective retelling of Rosalind’s story in Photograph 51 , as the play begins with Rosalind stating that 'this is what it was like', establishing that the events that follow this initial line are a snapshot into the limitations she had to face as a woman in the male-dominated scientific field. It also references that the interjections of the male scientists as they commentate on her life were 'what it was like', as male opinion majorly shaped the suppression of Rosalind’s success throughout the play. On the contrary, (9) Penelope’s recount of the story is less interrupted by interjections of other characters, specifically those from men. However, the maids deliver ten interludes throughout The Penelopiad . These interludes are another example of female voice being represented in the text, but often being dismissed due to their crudeness or sarcastic nature in their casting of doubt over both Penelope and Odysseus, as they taunt Penelope’s decision to 'blame it on the [...] poxy little sluts!' and blemish Odysseus’ name by characterising him as the 'artfullest dodger' or 'blithe lodger', in reference to his infidelity. Despite the maids being the most authoritative in terms of true Greek theatre, (10) as they deliver the truest and most objective judgement of events, they are 'forgotten' and are not served true justice as a result of their low social status and gender that limits their voice in a patriarchal society. The female perspectives in the texts are truer representations of history in both contexts, yet because of limitations regarding their gender in the two patriarchal systems, they are overshadowed by the male recounts of history.

Annotations (8) To strengthen your essay, it is important to also use evidence that is not strictly dialogue or themes from inside the text. In this line, I use a literary device - retrospective storytelling - to back up the analysis I am talking about.

(9) Starting your discussion of the divergent ideas is easy with the use of phrases such as ‘on the contrary’, ‘unlike this…’ and ‘however’. You don’t want to spend unnecessary time on filler sentences. Be efficient!

(10) By further strengthening my analysis with a range of examples (e.g. mentioning the historical importance of genre, such as Greek theatre in this instance), I’m able to demonstrate a deeper knowledge of not only the texts and their context . 

In patriarchal societies, the men ultimately have more control over their own narratives and shape them for their own personal glorification of character. The omission of immorality and emphasis on male achievement by the men narrating the story is a clear indication that despite the selfish choices they make, men are still able to shape their legacies in their favour. Watson and Crick in Photograph 51 are depicted as 'arrogant' and duplicitous as they extort their 'old friend[ship]' with Wilkins for personal gain, pressuring him into 'talking about his work' to further progress towards notoriety. The conclusion of the play, with Watson and Crick accepting the honour of the Nobel Prize and claiming it as the 'finest moment' of their lives, illustrates that the motivation of personal success justifies the immoral actions of men as they are remembered fondly as scientific heroes without the blemishes of their characters. Similarly in The Penelopiad , Odysseus is revered as a hero through the intertextual reference of The Odyssey, a myth detailing the legend of Odysseus and his 'cleverness'. Penelope’s recounting of the 'myth of Penelope and Odysseus' sheds light on her ingenuity in the tales of Odysseus, showing that she 'set the whole thing up on purpose', referring to the deceiving plan that Odysseus had been awarded all the credit for in the original retelling of their story. Additionally, in the 'trial of Odysseus', Odysseus’ character is evaluated in the setting of a court, as the maids have demanded justice for Odysseus’ unjust execution of them. However, the judge overturns this decision as it would serve as a 'blot on an otherwise exceedingly distinguished career', encapsulating the idea that men in a patriarchal society will omit personal errors in favour of presenting themselves and other men as heroes of their narratives. However, unlike the untarnished male success of Photograph 51 , the maids curse Odysseus so he would 'never be at rest' in the conclusion of the narrative, as Atwood makes the final statement that men throughout history should be held accountable for the immoral actions they make (11) .

‍ Annotations (11) By concluding with a specific reference to the authorial intent of this specific idea explored throughout the paragraph, you ‘zoom’ back out and show your reader the bigger picture. 

At the end of each text it is evident that, regardless of the representation and voice that is given to the female characters, the deeply entrenched patriarchal systems in both timelines negate this power in favour of the male voice (12) . Ziegler’s play asserts that Rosalind’s 'groundbreaking work' should 'cement her place in history', and aims to give her recognition from a relatively more progressive, feminist society. Atwood’s conclusion also is representative of giving women more recognition for their achievements, like giving credit for Penelope’s 'intelligence' as an esteemed character trait in contemporary society. Both characters cast doubt over the previously revered male heroes in both texts, and further criticise the lack of female representation in those heroic stories. In conveying both Penelope and Rosalind’s stories, the authors call for a further critique of past and future accounts of human achievement. 

‍ Annotations (12) In this conclusion, I have chosen to focus on comparing the authorial intentions of Atwood and Ziegler in relation to the topic. In doing so, it can summarise my contention that I introduced earlier in the essay. By starting my conclusion with an overall statement regarding the ending of the two texts, I draw on the readers’ preexisting ideas of how they felt at the end of each narrative.

If you’re studying Photograph 51 and My Brilliant Career, check out our Killer Comparative Guide to learn everything you need to know to ace this assessment.

Before you start diving into Jamie's incredible In Cold Blood study guide, I'd highly recommend that you check out LSG's free Ultimate Guide to VCE Text Response .

Introduction and Narration ‍

• Although its structure and cinematic plot development resemble that of crime fiction, Truman Capote’s In Cold Blood is a ‘nonfiction novel’ detailing the 1959 murders of four members of the Clutter family in Holcomb, Kansas. Put simply, the book was conceived of journalism and born of a novelist. 

• The novel is a product of years of extensive research by Capote and his friend and fellow author Harper Lee, who followed the trails of the Kansas criminals across numerous US states. In Cold Blood revolutionised the American ideals of journalism and literature, blurring the lines between these labels.

• A notable technique Capote employed in order to access classified information was becoming personally acquainted with the criminals of the case. For example, Capote became extremely close to Perry Smith, one of the main murderers in the case, which gave him exclusive information on the personal motives of the killers. 

• In Cold Blood reflects this relationship with the murderer through Capote’s narration of the book as an objective bystander. On page 23, we see the almost endearing way that Capote describes Perry; “his voice was both gentle and prim– a voice that, though soft, manufactured each word exactly, ejected it like a smoke ring issuing from a parson’s mouth.” As such, Capote’s friendship with Perry allows him to present the killer to the audience with a certain humanity and empathy, showcasing a broader picture of criminals than just a merciless murderer.

True facts of the Case

• On the 15th of November, 1959, all four members of the small farming Clutter family were brutally murdered, including Herbert Clutter, his wife Bonnie Clutter and their two teenage children, Nancy and Kenyon.

• The family was discovered bound and shot in the head. Herb’s throat had also been slashed. After ransacking the entire house, the criminals had left without finding any cash, carrying with them no more than fifty dollars, a pair of binoculars and a transistor radio.

• Perry Edward Smith and Richard Eugene ‘Dick’ Hickock were convicted of the crime. The two men had become acquainted during serving time at the Kansas State Penitentiary, and soon confessed to the crime, claiming that that they had heard from another prisoner that Herb Clutter was extremely wealthy, and kept his money in an easy-to-reach safe in his house.

• After the confession, the two murderers were flown from Nevada to Garden City, where they stood trial for their crimes. On 29 March, 1960, they received a guilty verdict, and were sentenced to the death penalty. For the following five years, Smith and Hickock lived on death row in Leavenworth, Kansas and were executed by hanging on the 14th of April, 1965.

Character Analysis

Perry edward smith.

One of the two murderers of the Clutter case, Smith is portrayed as a sensitive and artistic man haunted by his turbulent and lonely childhood. Described by Capote as a man of ‘actorish’ good looks, he disfigured both of his legs due to a motorcycle accident, which gave him chronic pain and an addiction to aspirin. His criminal actions are often directly linked to his childhood, described as ‘no bed of roses but pitiful, an ugly and lonely progress toward one mirage and then another’. Smith’s father was extremely abusive towards his wife, Flo Buckskin, and his four children, and so Buckskin later divorced him, taking the children with her. However, on her own she became an alcoholic and died by choking on her own vomit when Smith was only thirteen years old. He was then transferred to a Catholic orphanage, where he suffered from psychological, sexual and physical abuse from the nuns, one of whom attempted to drown him. Smith’s father and two of his siblings committed suicide during his time on death row. Smith eventually befriended Capote through their extensive interviews, and is believed to have shared personal information with him, believing him to be a true friend.

Richard Eugene ‘Dick’ Hickock

The second murderer of the Clutter case. Having grown up in Kansas, Hickock was a popular football player before turning to a life of crime after realising that he could not afford to go to college. During the course of the Clutter murder investigations, Hickock persistently blamed all of the murders on his partner in crime, Smith, claiming that ‘Perry Smith killed the Clutters…. It was Perry. I couldn’t stop him. He killed them all.’ Capote later states that during the murder, Smith was the one who stopped Hickock from raping the 16-year-old Nancy Clutter, as Hickock harboured pedophilic tendencies.

Herbert Clutter

A well-liked and kind-hearted wheat farmer in Holcomb, Kansas. Proprietor of the large River Valley Farm, Herb is described as a hardworking and valued citizen before his murder, who lead a relatively quiet life other than a troubled marriage with his wife due to her chronic depression.

Bonnie Clutter

Described as an ‘anxious woman’, it is revealed that Bonnie has a history of numerous mental illnesses, one of which is postpartum depression. Capote states that she and Herb had not slept in the same bed for many years.

Nancy Clutter

Described as the ‘darling of the town’ - the class president and future prom queen Nancy was the 16 year old daughter of the Clutters.

Kenyon Clutter

Athletic but introverted, Kenyon was the 15 year old son of Herbert and Bonnie Clutter.

Alvin Dewey

A personal friend of the Clutters, Dewey was the primary investigator in the Clutter murder case and worked for the Kansas Bureau of Investigation.

Themes and Motifs

The american dream.

The novel is Capote’s reflection upon the American Dream, as he portrays both the lives of those who epitomise it and those who are tragically out of its reach. Herb Clutter’s position as an upstanding American citizen with a prosperous farm elicits the reader’s interpretation of his character as the rags-to-riches ideal. In stark contrast with this, the rootless and criminal Dick Hancock and Perry Smith are presented as individuals for whom the Dream is perpetually unattainable. Their attempt to finally become ‘rich’ materialises through their attempt to rob the Clutters’ home, the failure of which ironically results in their brutal murders of the people who successfully represented the American Dream.

In accordance with the American Dream, In Cold Blood also explores the concept of what is considered ‘normal’ in America, and what can be revealed as the darker underbelly of its white picket fence ideal. Dick asserts throughout the novel that he is ‘normal’, but from an external, objective perspective, he is clearly far from such; he has distorted physical features and has committed a terrible, vicious murder. Capote also explores the idea of normal mental health, as Bonnie Clutter seems to have the perfect marriage and life with Herb, and yet suffers from extreme bouts of ‘nervousness’ and chronic depression which result in her hospitalisation.

What is evil is primarily explored through the character of Perry, who has conflicting ideals about what can be considered truly ‘evil’. The more feminine and gentler of the two murderers, Perry possesses conflicting morals, as despite being a ruthless murderer, he does feel remorse and is affected by what he has done. He even thinks to himself that Herb Clutter is a ‘very nice gentleman’ even in the midst of slitting his throat. Capote in the novel reveals that there are numerous facets to the meaning of true ‘evil’, and the blurred borders that exist between each of these.

Masculinity

Symbolising the idea of dominance and power, Dick and Perry, who have a complementary and polarised gender relationship, feed off each other in order to boost their own masculinity. Described as ‘aggressively heterosexual’, Dick is evidently the more stereotypically masculine counterpart, having had numerous relations with women. Perry, on the other hand, is more feminine and submissive, as Dick often calls him names such as ‘sugar’ and ‘honey’. Both men in the novel utilise the other in order to make themselves feel more masculine in their highly restrictive and conservative society — while Dick emphasises Perry’s feminine qualities, Perry admires Dick and craves his words of affirmation that he, too, is masculine.

Essay Writing for In Cold Blood

Below are some possible prompts for In Cold Blood , and possible ideas to begin writing an essay.

Theme-based Essay Prompt

"I think it is a hell of a thing that a life has to be taken in this manner. I say this especially because there's a great deal I could have offered society. I certainly think capital punishment is legally and morally wrong.”

Is In Cold Blood merely a novelistic argument against the death penalty? Discuss.

To learn more about LSG’s Five Types of essay prompts, I’d highly recommend checking out this blog post . It’s a super unique strategy developed by the founder of LSG, Lisa Tran. The Five Types method, outlined in the top-rated How To Write A Killer Text Response eBook , takes the stress of students and gives them easy to follow rules and tips so that they know how to approach every essay topic, every time.

• The best way to approach any essay prompt is to recognise the limiting and/or important words of the essay question. In this thematic prompt these words are: ‘legally and morally’, and ‘merely’.

• Secondly, for prompts which incorporate a quote, it is helpful to understand the context of the quote. In this case, the quote was said by Perry as his last words before his execution by hanging. Consider the importance of this; these words are especially more meaningful as they symbolise the last direct influence he leaves upon society. They are remorseful words of a murderer reproaching the justice system, which begs the question - does Capote position the reader to agree with the murderer’s view?

• Planning this essay can be structured along three arguments...

1. Capote argues against capital punishment through eliciting pathos for the murderers and portraying them as more than mere monsters.

• Evidence for this argument could be based mostly on the descriptive elements of Capote’s writing, or his emotional attachment to the murderers, particularly Perry.

• Capote paints Perry particularly sympathetically, highlighting his sensitivity as well as his broken and abusive childhood. Quotations from the novel make it clear that his character is romanticised to an extent, such as “It was a changeling's face, and mirror-guided experiments had taught him how to ring the changes, how to look now ominous, now impish, now soulful; a tilt of the head, a twist of the lips, and the corrupt gypsy became the gentle romantic.”

2. In Cold Blood supports the anti-death penalty argument through its structure and organisation.

• The epigraph of the novel is a verse of the poem, ‘Ballade des pendus’ by Francois Villon, that he composed whilst on death row in 1463. Villon’s criminal circumstances were strikingly similar with Dick and Perry’s, as he murdered a priest and stole from his strongbox before being arrested and sentenced to death. Despite this, Villon was ultimately charged with a 10 year banishment from Paris, whereas the Clutter family murderers are hanged - a strikingly different outcome. Thus, Capote employs this poetic epigraph to strengthen his argument against the unjust executions of Perry and Dick.

• In addition to this, the structure of the novel is also used to argue against capital punishment. Although Part One focuses on the lives of both the Clutter family members and Dick and Perry preceding the murder, Part Two skips over the actual murders themselves and recounts the aftermath of its events. This allows Capote to further develop Dick and Perry into real, complex people rather than merely cold blooded murderers; people who do not deserve such a cruel fate.  

3. However, Capote does ostensibly condemn the cruelty of the murders and presents the opposing argument that capital punishment is not, in fact, ‘legally and morally wrong’.

• The brutality of the Clutter murders are emphasised through the novel, as Larry Hendricks, who discovers the bodies along with the police, provides the gruesome details of the bodies - ‘each tied up and shot in the head, one with a slit throat’.

• As Perry later admits to the murder in his extended confession, Dewey highlights the fact that the Clutters ‘had suffered’ due to the ‘prolonged terror' inflicted by the murderers, and orders them, as such, to be ‘hanged back to back’.

• The argument for capital punishment in In Cold Blood is also supported by religious beliefs. As a small and predominantly Christian town, Kansas and its residents can be perceived interpreting the words of the Bible literally; at the end Dick and Perry’s trial, the prosecuting attorney Logan Green reads an excerpt from Genesis in the Holy Bible: ‘Whoso sheddeth man's blood, by man shall his blood be shed.’ Rejecting the notion that Christianity preaches forgiveness, Green strives to punish the killers for failing to abide by the laws and prophecies of the Old Testament.

Character essay prompt

Perry Smith, despite Capote’s authorial sympathy towards him, is really a cold and merciless monster. Discuss.

When approaching character-based prompts, you must depart slightly from examining the holistic messages of the author, as you would in a theme-based prompt, but rather analyse how the specific character develops this authorial message. The above essay question could be brainstormed in the following way:

1. Capote’s description of Perry shows that he is far from a ‘monster’, but a human being of great sensitivity and emotion.

• During his confession of the Clutter murders, Perry’s comment, ‘There's got to be something wrong with somebody who'd do a thing like that,’ shows that he, to some extent, understands the gravity of his actions and regrets them.

• Perry is also described by his sister as ‘gentle’, and someone who ‘used to cry because he thought the sunset was so beautiful’. Likewise, even in moments of cruelty, he often shows mercy and a wide moral compass, even stopping Dick from raping Nancy Clutter during their murder spree.

2. Perry is also depicted as someone ‘weakened’ by the tragic events of his past and his own insecurities, rather than an inherently ‘cold and merciless’ person.

• Capote often links Perry’s violent tendencies with his childhood, described as ‘no bed of roses but pitiful, an ugly and lonely progress toward one mirage and then another’, as he was raised ‘with no rule or discipline, or anyone to show [him] right from wrong’.

• In addition to this, Perry can be perceived to be the more insecure and submissive of the two killers, as while Dick often calls him stereotypically feminine names such as ‘sugar’ and honey’, Perry admires his ‘aggressive’ masculinity and craves his words of affirmation in order to feel as masculine and strong as his counterpart.

3. Despite this, Capote does not entirely erase the murderous aspects of Perry’s character.

• Due to the prompt and seemingly nonchalant way in which he kills the clutters, Dick becomes convinced that Perry is that rarity of a person,"a natural killer.”

• Thus, Capote, despite his empathetic portrayal of Perry, never allows the reader to forget the  extent of his criminality, and how easily he was able to fire those ‘four shotgun blasts that, all told, ended six human lives.’

How Do I Do Well if I HATE the English Texts That I Am Studying?

I know that exact feeling; the feeling of giving up before it has even started. Some lucky students fall in love at first sight with their texts while some unfortunate students dread having to spend a whole year analysing their texts. If you resonate with the latter, you have probably already given up on English, or maybe you’re trying your best to stay optimistic. English is hard, but what makes it harder is when you know you hate the texts that you are studying, so how can I do well in English if I hate the texts that I have to study? Whether you hate reading and analysing texts or you just hate the specific text that you have to study, here is a guide on how to make studying and reading your texts more enjoyable!

Reading Texts

We’ve all said it before, “I’ll just read it later” or “I’ll read it right before school starts” and in the end, it all leads to the same conclusion of us never actually reading the text and by the time our SACs roll around, we ‘study’ by reading summaries of our texts and try memorising the most popular quotes. 

Do I Really Have To Read the Text?

The bad news is yes, it is highly recommended that you read your texts! (I know it can be tempting to just read chapter summaries but trust me, I have tried writing an essay without reading the text and it went very badly). However, the good news is using LSG’s ideal approach to your English texts , you may only need to read your texts a minimum of three times. In fact, if you make use of your first reading , you probably won’t have to personally read the text again! During this first reading, take your time, don’t try to binge read the entire text in a night as there is a high chance that you will not be following the plot and you’re just reading for the sake of finishing the text. There’s no need to start annotating the text during this first reading as you will most likely have a collective second reading in class where your teacher will go over the whole text in more detail by highlighting significant sections of your text. This first reading is simply for you to familiarise yourself with the text and what you will be handling during the year. However, if you still have trouble understanding your texts, LSG has a plethora of resources such as free text-specific blogs and affordable text guides that you can check out!

How Do I Find the Motivation To Read My Texts?

Some common reasons why we might procrastinate reading our texts are the sheer volume of pages we need to read; having a short attention span and; being a more visual learner. If this is the case, there are many ways to increase your motivation to read or watch your texts!

• If the text is a play (e.g. The Crucible by Arthur Miller ), watch the play while reading the script . Not only will this help you understand the stage directions in the script, but it can also help with understanding the plot if you are a more visual learner. 
• If the text has a film adaptation (e.g. In Cold Blood by Truman Capote or The Dressmaker by Rosalie Ham ), watch the film adaptation first! Knowing major plot twists and spoilers can make reading your text feel faster as you already know what is going to happen. Watching film adaptations can also help allow you to picture the plot easily and help immerse yourself into the setting and the world of the text (however, do take care when doing this as you are only analysing the text you have been allocated, not the adaptations! )
• If the text is a film (e.g. Rear Window by Alfred Hitchcock ), try to find a trailer of the film or find short clips from the film rather than watching the entire movie in one sitting; watching these cuts and suspenseful scenes may spark your curiosity which is likely to increase your interest towards wanting to watch the movie. Scheduling a movie night with friends and family is also a great way to make watching the film more fun. 
• If the text is a collection of poems (e.g. William Wordsworth Poems selected by Seamus Heaney by William Wordsworth ), listen to the poem while reading the poem. Not only will this help you to embody the poet’s mind, but it can also help you recognise the rhyming schemes and rhythm patterns that may not be noticeable at first glance.

Check out How To Recharge Your Motivation Over the School Holidays for more tips!!

How Do I Make Reading My Texts More Enjoyable?

• Create goals: Space it out, we do not want to get burnt out! Organise goals and do not attempt to read the book all within a night! For example, you could aim to read one chapter a day. Not only will this hold you accountable, but it will also make reading less daunting and overwhelming.
• Rewards: Who doesn’t love rewards? Reward yourself after reaching your reading goals, this could be as simple as taking a break after reading or reading a book that you like. 
• Audiobooks: When you don’t feel like physically reading, download audiobooks of your texts and listen to them while you’re commuting or while you’re doing your chores.
• Environment: Create the perfect reading atmosphere! This is quite subjective, however, if you’re struggling to find this niche, here is a step-by-step guide to ‘romanticise’ reading:
• Put your devices away! If you’re opting to read an ebook, you can also turn your notifications off. We do not want to be distracted and procrastinate!
• Find a comfortable place to sit with good lighting.
• If you’re in the mood for a sensory experience, light a scented candle or make your favourite beverage to sip along while you are reading. 
• If it helps, you can pretend that you’re reading at an aesthetic library, or your favourite café, or a serene park…the options are endless. 

Studying Texts

It can be even harder to find the motivation to study for the texts that you hate as you’re probably looking for ways to limit the amount of physical contact you make with the text or ways to save time and study less for English but still do well in the subject.

How Do I Save Time When Reviewing and Writing Notes on My Texts?

Tip 1: write notes based on themes, writing style & characters instead of chronologically .

Often, students will take notes chronologically based on each chapter, however, this is not helpful at all. In your SACs and exam, you will not be writing paragraphs based on each chapter, instead, you will likely be given one of the five types of essay prompts that require an in-depth understanding of the themes, writing style ( such as symbols and motifs ) and characters of the text. Therefore, I recommend writing down notes and quotes based on themes, specific writing techniques and characters.  

For example, before class, you could create a separate notes page on each prominent theme of the text. When your teacher highlights significant sections of the text, you could then write down these notes into the relative theme document. For comparative texts, you can also create a comparison table based on overlapping themes which will allow you to view the comparisons more easily. If you’re a visual learner, colour coding your notes according to different themes or characters can make it easier to find later on when reviewing your notes. If you do this from the start, you will spend less time re-reading the text and organising your notes which will hopefully reduce the amount of time you spend studying. 

Tip 2: Write Down Page Numbers Next to Quotes and Notes

No, you do not have to memorise page numbers for your final exam or SACs, however, writing down page numbers will help you save time when reviewing your notes as you can just flip over to the page rather than having to re-read the text to find the specific quote or notes. It may seem rather annoying having to write down the page numbers all the time, however, your future self will thank you!

How Can I Find the Motivation To Write on the Text That I Hate?

Tip 1: find out what you hate and like about the text.

We all experience writer’s block, especially when we have no passion for the text we are studying. However, assuming you have read the text, you would probably have unique opinions on the text. Firstly, find out what you hate about the text . 

• Do you hate a specific character in the text? Why do you hate this character?
• Do you hate the writing style? What is it about the writing style that you hate?
• Is there a specific theme you felt the text did not address properly?
• Was there a specific scene or part of the text that frustrated you?

Once you find out what you hate about the text, find an essay prompt related to the topic you hate and practice writing an essay about it! Use this as a chance to lowkey rant, discuss or debate about the topic. Not only will this help you develop your inner author voice, but it will also provide you with inspiration to write. On the other hand, you can also find out what you like about the text (hopefully, you don’t hate everything about the text) and practice writing on a topic related to this. For example, I hated studying The Crucible due to the portrayal of women in the text. However, when analysing the text, I realised that the portrayal of women in the text was simply a reflection of the conservative and insular society of Salem which became a theme that I liked discussing. 

Tip 2: Put the Text in Context

Keep in mind that the texts that you have been allocated all have a specific aim and purpose such as serving political commentary about a significant historical event, critiquing a specific characteristic of conservative communities or simply a discussion about human nature. Throughout the text, there will be many literary techniques, characters and events that will be used to bring these significant themes to life. Therefore, regardless of whether you like the plot of the text or not, the themes that you will be studying may be more of interest to you. If this is the case, researching the background and the world of the text may help you gain a deeper understanding of these themes which is likely to increase your motivation to write as you will be able to apply your knowledge about the text such as quotes, characters and events to these themes. 

Tip 3: Utilise Your Strengths

By focusing on your strengths, you are likely to increase your confidence and consequently, your motivation to write! Therefore, if you are an expert at analysing literary techniques, or if you have mastered writing about characters, use these strengths when you are writing. Not only will playing at your strengths make writing less difficult, it may also help overshadow your weaknesses. 

Overall, whether writing essays is your strong suit or not, LSG has many general essay writing tips (for example, check out this guide on essay planning ). I also recommend checking out some of the comprehensive LSG guides such as ​​ How To Write A Killer Text Response and How To Write A Killer Comparative which may give you a head start on writing your essays. 

Unfortunately, there aren’t many choices in English and it is quite likely that you will end up with a text that you dislike. However, it is still possible to do well in English while studying texts you hate! Hopefully, these tips can make reading and studying your texts much more enjoyable and consequently, make your English experience much more pleasant. Endure the pain now and you'll be finished before you know it!

Alfred Hitchcock’s classic thriller Rear Window was released nearly 65 years ago. Back then, Hitchcock was a controversial filmmaker just starting to make waves and build his influence in Hollywood; now, he is one of the most widely celebrated directors of the 20th century. At the time of its 1954 release, Rear Window emerged into a world freshly shaken by World War II. The fear of communism riddled American society and Cold War tensions were escalating between the two global superpowers, the USSR and USA. Traditional gender stereotypes and marital roles were beginning to be challenged, yet the ‘old way’ continued to prevail. The culture of the 1950s could hardly be more different to what it is today. Within the Western world, the birth of the 21st century has marked the decline of cemented expectations and since been replaced by social equality regardless of gender, sexual preference and age. So why , six decades after its original release and in a world where much of its content appears superficially outdated , do we still analyse the film Rear Window ?

Rear Window is a film primarily concerned with the events which L.B. (Jeff) Jefferies, a photographer incapacitated by an accident which broke his leg, observes from the window of his apartment. He spends his days watching the happenings of the Greenwich Village courtyard, which enables Jeff to peer into the apartments and lives of local residents. The curiosities which exist in such an intimate setting fulfil Jeff’s instinctual need to watch. The act of observing events from a secure distance is as tempting as reality television and magazines. To this day, these mediums provide entertainment tailored to popular culture. At its roots, Jeff’s role as a voyeur within Rear Window is designed to satisfy his intense boredom in a state of injury. As the film is seen through Jeff’s voyeuristic eyes, the audience become voyeurs within their own right. Until relations between Thorwald and his wife simmer into territory fraught with danger, Jeff’s actions are the harmless activities of a man searching for entertainment.

So, if Rear Window teaches us that voyeurism is a dangerous yet natural desire , does the film comment on the individuals who consent to being watched? Within Greenwich Village, Jeff’s chance to act as an observer is propelled by the indifference of those he observes. Almost without exception, his neighbours inadvertently permit Jeff’s eyes wandering into their apartments by leaving their blinds up. The private elements of others’ lives, including their domestic duties, marital relations and indecencies, are paraded before Jeff. Greenwich Village is his picture show and its residents willingly raise the stage’s curtains . This presentation of Hitchcock’s 1954 statement remains relevant today. Jeff’s neighbours’ consent to his intrusion into their lives bears striking similarities to current indifference. The prevalence of social media enables information to be gathered as soon as its users click the ‘Accept Terms & Conditions’ button. Rear Window is a commentary on social values and provokes its audience to examine habits of their own, especially in a world where sensitive information is at our fingertips. Just as Hitchcock’s 1954 characters invite perversive eyes to inspect their lives, society today is guilty of the same apathy .

The characters of Hitchcock’s thriller are a pivotal element of the film’s construction. They add layers of depth to the text and fulfil roles central to the plot’s development. One of Hitchcock’s fundamental directorial decisions was leaving multiple characters unnamed – within Greenwich Village alone, we meet Miss Lonelyhearts, Miss Torso and Miss Hearing Aid. The stereotypical nature of these labels, based on superficial traits that Jeff observes from his window, exemplifies the sexism prevalent in the 1950s. Jeff’s knowledge of these women is limited to such an extent that he does not know their names, yet considers himself qualified enough to develop labels for each of them. The historical background of stereotypes is imbedded within Rear Window and shares vast similarities with the stereotypes we recognise today.

Hitchcock’s 1954 thriller Rear Window portrays a little world that represents the larger one . Its themes, primarily voyeurism, and character profiles illustrate Hitchcock’s societal messages and provide a running commentary on issues which govern America during the 1950s. In the six decades since the film’s release, the Western world has undergone significant developments both socially and culturally. L.B (Jeff) Jefferies’ perception of women and married life is inconsistent with the relations between men and women that we observe today. Regardless, the timeless views that Hitchcock’s conveys through Rear Window continue to speak volumes about our society. Jeff’s voyeurism, which comprises much of the film’s major plotline, is a channel for Hitchcock to comment about the instinctual desire for individuals to observe others. Additionally, Hitchcock delves into the flip side of this matter, presenting the theory that those he watches are just as guilty of allowing his intrusion into their private lives. Apathetic mindsets in today’s digital world are responsible for the same indifference that Hitchcock explores within his film. Let’s not forget the sexist stereotypes that Jeff develops to label certain women within Greenwich Village. Miss Lonelyhearts, Miss Torso and Miss Hearing Aid are all victims of Jeff’s narrow mindset towards women, emphasised by these superficial and demeaning names. Stereotypes remain as apparent within society today as they were within the world of Rear Window and can be identified within the media’s diverse presentation of social issues. It is easy to assume that Hitchcock’s 1954 thriller, Rear Window , lacks the relevancy we expect from films. Contrary to this perception, its ingrained messages are fundamentally true to this day.

Let’s briefly discuss the background of the article before we dive into the analysis…

• So, the background information tells us that “Biodiversity is the term used to describe life on Earth — the variety of living things, the places they inhibit and the interactions between them.”
• The article at hand is a transcript of a speech given by Professor Chris Lee at the International Biodiversity Conference 2010.
• The purpose of this conference is to review the progress made towards achieving the target and to look beyond 2010.

Now, let’s analyse the opening of the speech. Take a second to read through Lee’s speech opener...

Firstly, we can analyse the way in which Lee addresses his audience. Rather than using a phrase like "Hi everyone" or a similar greeting, he actually refers to his audience as his "fellow delegates" which allows him to speak in a particularly candid and honest manner. He wants to be transparent about the reality of the situation with his peers, rather than trying to impress an audience or something similar.

Overall, this anecdote appeals to the emotions of the audience and plays on an apparent devotion/commitment presumably made to the environment by the delegates of a Biodiversity conference. Lee uniquely seeks to persuade his audience by using the information he knows about them – their past commitments.

More specifically, we can dive into the pejorative mood of the adjectives he uses to describe the second scene, which is one of destruction, especially compare to the images he presents first. The "lush jungle" with a variety of "interesting flora and fauna" on the banks of a "clear river" appears particularly idyllic in juxtaposition with the images of the "scorched earth", "gooey mudslide", "sepia tinge" and "barren sticks hopelessly groping for life."

In the last sentence, the repetition of the word "gone" reminds Lee's "fellow delegates" of what will be lost if action on biodiversity is not taken.

Now, we know that in any given Language Analysis article, there are so many things to analyse, which I’ve demonstrated with all of the things we managed to focus on in that single paragraph.

Often, students will be able to identify lots of techniques and as such, lots of elements to analyse, but they struggle to choose between these techniques when it comes to writing their responses.

I’d highly recommend that you download a free sample of my eBook, How To Write A Killer Language Analysis which talks about techniques you can use to pick what to write about in your essays. We won’t have enough time to talk about those techniques today, so we’ve written them down for you in the eBook.

Now that we’ve looked at how Lee has started his speech, let’s skip forward to a later section of the article. Take a second to read through the section.

One of the first things that may jump out at you is this repetition of inclusive language; "we are", "we have". However, this is way too obvious! For an upper level response, we want to steer clear of the cliche techniques and analyse ones that have more value and show off our own perspective of the article.

Utilising the statements, "everyone in the lecture theatre knows this" and "clearly, it is our lack of unity", Lee includes the audience and holds all of the delegates accountable through declaring the reasons for failure as simple matters of fact.

Here, Lee trivializes the actions of the organisation in creating "glossy brochures" with "wonderful words" as marketing tools to create the impression that meaningful action is being taken. Lee exposes such actions as deceitful and calls for "real action", seeking to persuade his audience into putting their effort into actual gains in the biodiversity fight.

Want to know more? I'd highly recommend checking out LSG's FREE Ultimate Guide to VCE Language Analysis for more great tips, resources and advice.

And that’s it! I hope this has been helpful in showing how to analyse a speech as a Language Analysis prompt.

Be sure to check out the free sample of my eBook below for more!

The idea of VCE English assessments can sometimes be a bit daunting. Always so much you want to write, never as much time as you need and they always seem to come around sooner than you think. But there is never as much cause for alarm as you think and I’m willing to guarantee that almost everyone reading this is so much better than they think at English . 

You’ve already come so far from where you started in your high school English journey. I’d like to challenge anyone reading this to go and find the earliest English essay you’ve got tucked away somewhere. I’ve done this myself and, if yours is anything like mine, you’ll be almost disgusted by what you find. Year-7-me just loved to retell the story, cling to my rigid TEEL formulas and leave my quotes just dangling, write the same basic paragraph three times and call it a complete essay. Not a pretty read and I’m sure a couple of you can relate. But, this exercise does at least prove a very valuable point: you are capable of improving at English .

So let’s start thinking about that essay you’ve got coming up again. You’ve just given yourself a nice confidence booster with that walk down memory lane, reminding yourself that you are a more-than-capable English student these days. But all you now want to do is your very best for this next essay. But how do you keep improving between now and then? After all, if you knew what you had to do to improve your English, you’d already be doing it, right? So what we’re going to do now is to have a look at what taking your essays to that next level really looks like; how you can improve your writing between now and then, whenever that might be. 

So to do this, we’re going to take an already good paragraph and improve it together. Take this one, one that I conveniently prepared earlier to a Station Eleven prompt that has to do with the theme of memory/history.

Part 1: The Good Paragraph

Q: Mandel shows the importance of remembering the past. To what extent is this true?

A: In Station Eleven, the characters often find meaning from the creation of enduring legacies. Mandel demonstrates this idea through the naming of Jeevan’s son after his brother, Frank. By creating such an enduring legacy for a character who believes in the power of such legacies - 'they’re all immortal to me' - Mandel implies that characters like this are able to achieve meaning and fulfilment by preserving these legacies. Mandel also uses the character of Miranda to highlight the importance of legacies to provide meaning where Miranda lacks it in her day-to-day life. Even though Miranda’s life is left incomplete by her sudden death, the beauty in the scene of her death suggests that a sense of fulfilment has been achieved despite the emptiness of her life relative to other characters: 'its extravagant sunsets and its indigo sea'. Hence, the meaning in her life comes from the legacy that she creates from the art she makes in her 'independent' life. This is contrasted against the character of Arthur, whose legacy does not influence any events in the post-flu world, because of his failure to create legacy or meaning beyond his day-to-day life. Further, Arthur’s death in the hectic Elgin Theatre has far less beauty than that of Miranda, implying less fulfilment in his life. Therefore, Mandel uses her text to demonstrate the value of creating legacies that allow others to remember the past.

Let’s call this our good paragraph. I’ve modelled this off of an essay I found from my Year 10 self, as happy as Year-10-me would have been with this performance, it’s far from perfect. But, it is a very functional paragraph that does all that a paragraph really needs to do. It introduces an idea, justifies it with evidence, links back at the end and doesn’t waste too much time retelling the story. So now we get to the fun bit: we’re going to take this already good paragraph, and turn it into a better paragraph.

So how do we make a good paragraph better ? 

Well, for a start, we can integrate our quotes so that the paragraph reads better . You’ll see in just a second how much of a difference this can make. This is something I learnt to do between Years 10 and 11. Other improvements that could be made include answering the prompt more directly and using some of the language of the prompt within our answers. So let’s change this and see now what these small differences do to our paragraph.

Part 2: The Better Paragraph

A: In Station Eleven, the characters often find meaning from the creation of enduring legacies that allow others to remember the individuals who came before. Mandel demonstrates this idea through the naming of Jeevan’s son after his brother, Frank. By creating this symbolic memorial for a character who believes that such legacies can allow individuals such as actors to become 'immortal', Mandel implies that characters like this are able to achieve meaning and fulfilment through their legacies. Furthermore, Mandel also uses the character of Miranda to highlight the importance of creating a legacy through one’s art to provide meaning where Miranda lacks it in her day-to-day life. Although abruptly killed off in the middle of the text, Mandel imbues her death with a certain beauty through its 'extravagant sunsets and indigo sea'. In doing so, Mandel provides a sense of completion about Miranda’s life and suggests that a sense of fulfilment has been achieved despite the emptiness of her life relative to other characters. Hence, the meaning in her life comes from the legacy that she creates from the art she makes in her 'independent' life. This is contrasted against the character of Arthur, whose legacy does not influence any events in the post-flu world, because of his failure to create legacy or meaning beyond his day-to-day life. Further, Arthur’s death in the hectic Elgin Theatre has far less beauty than that of Miranda, implying less fulfilment in his life. Therefore, Mandel uses her text to demonstrate the importance of creating legacies that allow others to remember the past.

There we have it. The paragraph has been rewritten based on the ones I wrote in Year 11 and we have the first signs of improvement. The topic sentence now references the ‘remembering the past’ aspect of the prompt. The linking sentence now uses the ‘importance’ part of the prompt. All of the same quotes are used but are now integrated (check out How To Embed Quotes in Your Essay Like a Boss if you need more help with this). 

We’ve made sure not to have more than one sentence starting with Mandel (a small nitpick but still a nice addition). It flows better. It answers the prompt more directly and suddenly we have a better paragraph . Year-11-me has shown improvement and with this comes better scores and more confidence: something that’s very important for success in English. If you’re confident and proud of what you’re writing, then you’ll have higher marks and, even better, more fun!

We haven’t changed much and the paragraph is already better . But it’s not my best paragraph. Between Years 11 and 12, I learnt even more things. I was taught to write about not only the world of the text but also the world around us that we and Mandel live in: you’ll notice that this better paragraph talks more about ‘characters’ that live ‘in the text’ whereas my best paragraph would talk more about the text in the context of the world you and I live in . I learnt to make my topic sentences more abstract and broad so that they relate more to our own world and less to the world of the text and remind whoever’s assessing that my ideas apply to everyone and not just within the texts. I learnt to respond more directly to different types of prompts (Discuss, To what extent is this true?, How does Mandel… and others) and I learnt to be more direct in discussing the views and values of Mandel (what she likes, what she doesn’t like, what she wants to see more of in the world)

So let’s apply some final changes, and see what our paragraph looks after two more years of refining English. This final paragraph is almost exactly the same as one I wrote in timed conditions before my final exam.

The Final Part: The Best Paragraph

A: Mandel explores the importance of legacies, not only as sources of meaning for their creators, but also for their roles in allowing others to remember the roles of those who came before. Such an idea is explored through the naming of Jeevan’s son, securing the legacy of Frank. By affording such a permeating influence to an individual who writes of and appreciates the 'immortal[ity]' of long-dead actors, Mandel implies that an appreciation of the inherent value in a legacy and its ability to influence future events is a key quality in individuals. Furthermore, Mandel uses the character of Miranda to highlight the importance of creating a legacy that outlives oneself to provide meaning. Although abruptly killed off in the middle of the text, Mandel imbues her death with a certain beauty through its 'extravagant sunsets and indigo sea'. In doing so, Mandel provides a sense of completion about Miranda’s life and suggests that a sense of fulfilment has been achieved despite the emptiness of her life relative to other characters. Hence, Mandel suggests that the meaning in Miranda’s life comes from the legacy that is the art she makes in her 'independent' life that continues to influence events and allow others to remember the past long after her death. Mandel provides contrast through her exploration of Arthur, whose legacy does not influence any events in the post-flu world because of his failure to create legacy or meaning beyond his day-to-day life. Further, Arthur’s death in the hectic Elgin Theatre has far less beauty than that of Miranda, reinforcing Mandel’s view that individuals who forfeit control of their own legacies, as Arthur does, lead far less completed and fulfilled lives. Therefore, Mandel highlights the immense importance of creating legacies that allow others to remember the past and encourages greater appreciation of the value of legacies in contemporary society.

So, two years later, and we’ve got what is still essentially the same paragraph, just brushed up to an even better, or best , standard. So if we’re using the same evidence, exploring the same characters and introducing the same ideas, why is this paragraph better than the last two?  

Well, if you study the topic and linking sentences, they discuss the concept of a legacy being a means of allowing others to remember the past and the importance of such a thing and everything in-between links this concept to the text. ' Mandel highlights the immense importance' represents a subtle but nice nod to the wording of the prompt by giving an ‘extent’ to which Mandel ‘shows’ or highlights. Every piece of evidence is discussed in reference to what Mandel believes about the world around us and how individuals should act in modern society. 

And there’s something very nice that we can now reflect on. This paragraph has gone from good to much better without having to introduce any new ideas. There are no overly complex interpretations of the text, we’ve just taken the same skeleton of a paragraph and made it look better without changing its real substance. 

And one of the wonderful things about making efforts to improve the quality of your writing is all the confidence that comes with this, whether this be from getting better at discussing views and values , learning to integrate your quotes or any achievement like this. I know that my confidence surged as my English got better and, as I got more confidence in my writing, I got more confidence in what I wrote about. My interpretations of the text became more and more obscure and a bit whacky at times and I had fun writing about these things. If you improve your writing, you’ll improve what you’re writing about which will mean you’ll have more fun writing and the cycle of improvement will just continue.  

So to cap off, I thought it might be nice to have a checklist of sorts that you might be able to put against your own writing.

What’s the next step I could take in improving my English?

• Are all my quotes properly integrated ? (Hint: if the sentence doesn’t make sense without quotation marks, the answer is no)
• Have I got more than a couple of sentences starting the same way or could I vary my sentence structure a bit more?
• Have I explicitly used some parts of the prompt in my own writing so that I can directly answer the question in my essays?
• Am I writing about both the world of the text and the world we live in outside of the text instead of just the characters and relationships within the text?
• Are my topic and linking sentences describing a concept that relates to the prompt with everything in-between relating this concept to the text? (I found this a very useful way of thinking of paragraphs)
• Is all of my evidence being discussed in relation to the views of the author ?
• Does my essay/paragraph explain what the author would like to see more of/less of in modern society based on what is explored in the text?
• Is my essay/paragraph specific to the exact wording and type of prompt?

And these are just some of the improvements that could be made. I’m sure each of you could ask teachers and past students and find many, many more tips on improvement. Just as long as you’re thinking about what the next step in your English might be, then you’re already headed in the right direction. So good luck and happy writing!

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Essay Writing: A complete guide for students and teachers

P LANNING, PARAGRAPHING AND POLISHING: FINE-TUNING THE PERFECT ESSAY

Essay writing is an essential skill for every student. Whether writing a particular academic essay (such as persuasive, narrative, descriptive, or expository) or a timed exam essay, the key to getting good at writing is to write. Creating opportunities for our students to engage in extended writing activities will go a long way to helping them improve their skills as scribes.

But, putting the hours in alone will not be enough to attain the highest levels in essay writing. Practice must be meaningful. Once students have a broad overview of how to structure the various types of essays, they are ready to narrow in on the minor details that will enable them to fine-tune their work as a lean vehicle of their thoughts and ideas.

In this article, we will drill down to some aspects that will assist students in taking their essay writing skills up a notch. Many ideas and activities can be integrated into broader lesson plans based on essay writing. Often, though, they will work effectively in isolation – just as athletes isolate physical movements to drill that are relevant to their sport. When these movements become second nature, they can be repeated naturally in the context of the game or in our case, the writing of the essay.

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• Clear objectives  easy to match to the demands of your curriculum

Planning an essay

The Boys Scouts’ motto is famously ‘Be Prepared’. It’s a solid motto that can be applied to most aspects of life; essay writing is no different. Given the purpose of an essay is generally to present a logical and reasoned argument, investing time in organising arguments, ideas, and structure would seem to be time well spent.

Given that essays can take a wide range of forms and that we all have our own individual approaches to writing, it stands to reason that there will be no single best approach to the planning stage of essay writing. That said, there are several helpful hints and techniques we can share with our students to help them wrestle their ideas into a writable form. Let’s take a look at a few of the best of these:

BREAK THE QUESTION DOWN: UNDERSTAND YOUR ESSAY TOPIC.

Whether students are tackling an assignment that you have set for them in class or responding to an essay prompt in an exam situation, they should get into the habit of analyzing the nature of the task. To do this, they should unravel the question’s meaning or prompt. Students can practice this in class by responding to various essay titles, questions, and prompts, thereby gaining valuable experience breaking these down.

Have students work in groups to underline and dissect the keywords and phrases and discuss what exactly is being asked of them in the task. Are they being asked to discuss, describe, persuade, or explain? Understanding the exact nature of the task is crucial before going any further in the planning process, never mind the writing process .

BRAINSTORM AND MIND MAP WHAT YOU KNOW:

Once students have understood what the essay task asks them, they should consider what they know about the topic and, often, how they feel about it. When teaching essay writing, we so often emphasize that it is about expressing our opinions on things, but for our younger students what they think about something isn’t always obvious, even to themselves.

Brainstorming and mind-mapping what they know about a topic offers them an opportunity to uncover not just what they already know about a topic, but also gives them a chance to reveal to themselves what they think about the topic. This will help guide them in structuring their research and, later, the essay they will write . When writing an essay in an exam context, this may be the only ‘research’ the student can undertake before the writing, so practicing this will be even more important.

RESEARCH YOUR ESSAY

The previous step above should reveal to students the general direction their research will take. With the ubiquitousness of the internet, gone are the days of students relying on a single well-thumbed encyclopaedia from the school library as their sole authoritative source in their essay. If anything, the real problem for our students today is narrowing down their sources to a manageable number. Students should use the information from the previous step to help here. At this stage, it is important that they:

●      Ensure the research material is directly relevant to the essay task

●      Record in detail the sources of the information that they will use in their essay

●      Engage with the material personally by asking questions and challenging their own biases

●      Identify the key points that will be made in their essay

●      Group ideas, counterarguments, and opinions together

●      Identify the overarching argument they will make in their own essay.

Once these stages have been completed the student is ready to organise their points into a logical order.

WRITING YOUR ESSAY

There are a number of ways for students to organize their points in preparation for writing. They can use graphic organizers , post-it notes, or any number of available writing apps. The important thing for them to consider here is that their points should follow a logical progression. This progression of their argument will be expressed in the form of body paragraphs that will inform the structure of their finished essay.

The number of paragraphs contained in an essay will depend on a number of factors such as word limits, time limits, the complexity of the question etc. Regardless of the essay’s length, students should ensure their essay follows the Rule of Three in that every essay they write contains an introduction, body paragraphs, and a conclusion.

Generally speaking, essay paragraphs will focus on one main idea that is usually expressed in a topic sentence that is followed by a series of supporting sentences that bolster that main idea. The first and final sentences are of the most significance here with the first sentence of a paragraph making the point to the reader and the final sentence of the paragraph making the overall relevance to the essay’s argument crystal clear. 

Though students will most likely be familiar with the broad generic structure of essays, it is worth investing time to ensure they have a clear conception of how each part of the essay works, that is, of the exact nature of the task it performs. Let’s review:

Common Essay Structure

Introduction: Provides the reader with context for the essay. It states the broad argument that the essay will make and informs the reader of the writer’s general perspective and approach to the question.

Body Paragraphs: These are the ‘meat’ of the essay and lay out the argument stated in the introduction point by point with supporting evidence.

Conclusion: Usually, the conclusion will restate the central argument while summarising the essay’s main supporting reasons before linking everything back to the original question.

ESSAY WRITING PARAGRAPH WRITING TIPS

●      Each paragraph should focus on a single main idea

●      Paragraphs should follow a logical sequence; students should group similar ideas together to avoid incoherence

●      Paragraphs should be denoted consistently; students should choose either to indent or skip a line

●      Transition words and phrases such as alternatively , consequently , in contrast should be used to give flow and provide a bridge between paragraphs.

HOW TO EDIT AN ESSAY

Students shouldn’t expect their essays to emerge from the writing process perfectly formed. Except in exam situations and the like, thorough editing is an essential aspect in the writing process. 

Often, students struggle with this aspect of the process the most. After spending hours of effort on planning, research, and writing the first draft, students can be reluctant to go back over the same terrain they have so recently travelled. It is important at this point to give them some helpful guidelines to help them to know what to look out for. The following tips will provide just such help: 

One Piece at a Time: There is a lot to look out for in the editing process and often students overlook aspects as they try to juggle too many balls during the process. One effective strategy to combat this is for students to perform a number of rounds of editing with each focusing on a different aspect. For example, the first round could focus on content, the second round on looking out for word repetition (use a thesaurus to help here), with the third attending to spelling and grammar.

Sum It Up: When reviewing the paragraphs they have written, a good starting point is for students to read each paragraph and attempt to sum up its main point in a single line. If this is not possible, their readers will most likely have difficulty following their train of thought too and the paragraph needs to be overhauled.

Let It Breathe: When possible, encourage students to allow some time for their essay to ‘breathe’ before returning to it for editing purposes. This may require some skilful time management on the part of the student, for example, a student rush-writing the night before the deadline does not lend itself to effective editing. Fresh eyes are one of the sharpest tools in the writer’s toolbox.

Read It Aloud: This time-tested editing method is a great way for students to identify mistakes and typos in their work. We tend to read things more slowly when reading aloud giving us the time to spot errors. Also, when we read silently our minds can often fill in the gaps or gloss over the mistakes that will become apparent when we read out loud.

Phone a Friend: Peer editing is another great way to identify errors that our brains may miss when reading our own work. Encourage students to partner up for a little ‘you scratch my back, I scratch yours’.

Use Tech Tools: We need to ensure our students have the mental tools to edit their own work and for this they will need a good grasp of English grammar and punctuation. However, there are also a wealth of tech tools such as spellcheck and grammar checks that can offer a great once-over option to catch anything students may have missed in earlier editing rounds.

Putting the Jewels on Display: While some struggle to edit, others struggle to let go. There comes a point when it is time for students to release their work to the reader. They must learn to relinquish control after the creation is complete. This will be much easier to achieve if the student feels that they have done everything in their control to ensure their essay is representative of the best of their abilities and if they have followed the advice here, they should be confident they have done so.

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The Essential Guide to Year 10 English

What will your child be learning in Year 10 English?

If you’re looking for information about Australia’s Year 10 English Syllabus, you’ve come to the right place!

We’re here to help you gain a better understanding of the curriculum with a brief run-down of its key learning areas, achievement standards, and some sample portfolios of what your child should be able to produce by the end of the year.

Let’s get started!

What do students learn in the Year 10 Australian English Curriculum? Assessment Types in Year 10 English Year 10 English Achievement Standards

Looking for English guides for other year groups?

If you have a child in a different year group to Year 10, we’ve also got English guides for them! Check out our guides for the various year groups:

Year 1 | Year 2 | Year 3 | Year 4 | Year 5 | Year 6 | Year 7 | Year 8 | Year 9

What do students learn in the year 10 australian english curriculum.

Australia’s Year 10 English Curriculum consists of three main learning areas:

These three strands form fundamental building blocks for your child’s English learning journey. Students will strengthen listening, reading, viewing, speaking, writing and creating skills from earlier years by engaging with a variety of texts in familiar and unfamiliar contexts.

They will explore complex plot sequences, themes, text structures, and language features to develop their critical understanding and analysis . Whether it be through classic or contemporary literature, or multimodal and media texts, this curriculum is designed to strengthen your child as an independent reader.

If you haven’t heard yet, the Years 7-10 Maths Curriculum is also going to look different in 2024 , so make sure you’re on top of it!

The Language learning area focusses on areas of language variation and change, language for interaction, text structure and organisation, and expressing and developing ideas.

Language variation and change To begin with, students will learn about the history of Standard Australian English and investigate the differences between spoken and written English.

Language for interaction Students will also learn the social effects of language to empower or disempower people by identifying language that aligns the listener and reader, and the use of first and second person pronouns. They will also learn how to identify references to shared assumptions and shared cultural knowledge , as well as reflect on the inclusionary and exclusionary effects of language. Your child will also learn how to evaluate texts in light of their historical context and consider varying points of view and value systems.

Text structure and organisation Your child will also comparatively investigate the purposes, text structures and language features of traditional and contemporary in different media to explore how adaptations for texts on online environments are influenced by technological affordances. They will also experiment with arranging images and paragraphs for different purposes, such as the production of documentaries, media reports, online magazines and digital books . Additionally, students will also learn citing conventions for essays, reviews, and academic assignments.

Expressing and developing ideas Teachers will support children with expressing and developing ideas by helping them to analyse and evaluate the effectiveness of sentence and clause structure. This includes looking at how clauses change emphasis, the focus of a sentence through passive voice, verbless clauses, and sentences beginning with a coordinating clause. Alongside this, students will learn to analyse high order concepts through language techniques , including how normalisation affects event construction, clause combination to communicate logical relations between ideas, technicality for shared knowledge, and abstraction to allow greater generalisation. Students will evaluate the impact of still and moving images on audiences by experimenting with movement and light. Additionally, students will define their vocabulary choices to create texts with symbolism, foreshadowing and irony, as well as understand how to spell unusual and technical words based on uncommon Greek and Latin roots.

To wrap it all up, your child will learn about:

• The history of language variation and change
• The use of language for interaction and contextual evaluation
• Text structure and organisation across different contexts, purposes and audiences
• Expressing and developing ideas through structure, language features, visual representations and vocabulary choices

Want to know what to expect from Year 11 English? Check out these Sample Essay Questions for the Year 11 Common Module to prepare!

Literature focusses on teaching students how to identify, respond, examine, and create literature.

Literature and context This area begins with teaching students how to comparatively analyse representations of individuals and groups across a range of historical, social and cultural, texts, such as the ‘Cinderella’ story and the ‘anti-hero’ story.

Responding to literature Students will learn how to reflect on interpretations of and responses to literature by debating universal qualities, presenting arguments based on close textual analysis , creating reading lists, and asking questions relevant to a student’s cultural background. They will look at a range of texts to analyse how text structures, language features and visual features of texts, and context may influence audience responses. Social, moral and ethical positions represented in texts will be evaluated by identifying strengths and weaknesses in blogs or online discussions forums.

Examining literature Besides that, students will learn how to identify and discuss how narrative viewpoint, structure, characterisation and devices influence different interpretations and responses by looking at a range of short poems, a short story, or extracts from a novel or film. They will compare and evaluate how ‘voice’ is used as a literary device to evoke particular emotion responses by creating their own extended written responses to literary texts. Text structures and language features will be evaluated to make thematic intertextual connections with other texts , with students using literary text analysis terms when writing or speaking about how authors have engaged audience interests.

Creating literature Finally, your child will reflect on and create literary texts that draw on their experience of other texts that appear to their personal style . They will create spoken, written or multimodal texts with a sustained ‘voice’ by combining appropriate text structures, literary devices, language, auditory and visual structures and features for a specific purpose and audience. Students will also learn how to create imaginative texts that refer to relevant themes or make intertextual connections with other texts.

In summary, your child will learn how to:

• Comparatively analyse representations of individuals and groups in different social, cultural and historical contexts
• Respond to literature by evaluating interpretations, responses, and ethical positions
• Examine literature through text structures, language features, and ‘voice’
• Create literary texts with personal style, a sustained ‘voice’, and relevant thematic and intertextual connections

Texts in context The final learning area to focus on for Year 10 English is Literacy. This module begins with students learning how to analyse and evaluate how people, cultures, places, events, objects and concepts are represented in texts through language, structural and/or visual choices. This includes considering ethical positions, questioning the representation of stereotypes, explaining satirical events, evaluating poetic, lyrical language , and analysing the ways socio-cultural values, attitudes and beliefs are presented.

Interacting with others Your child will learn how to explore the purposes and effects of different text structures and language features of spoken texts so they can create texts for varying purposes and contexts. Students will present points of view on a subject using organisation patterns, voice and language within pair, group, class, school and community speaking and listening situations. They will use logic, imagery, rhetorical devices, and voice effects to engage audiences, as well as plan, rehearse and deliver presentations to influence a particular point of view.

Interpreting, analysing, evaluating Students will work on analysing implicit or explicit values, beliefs and assumptions in texts to see how they’re influenced by purposes and likely audiences. Readings paths will be chosen that are appropriate for the type of text to retrieve and connect ideas, such as by assessing hyperlinked texts. They will also use comprehension strategies to compare and contrast information within and between texts, such as by identifying the different connotations of words in advertising texts from other cultures

Creating texts In the end, students will create sustained texts that combine digital or media content for imaginative, informative or persuasive purposes to explore complex issues. Students will review and refine their own texts and others’ texts for control of content, organisation, sentence structure, vocabulary, and/or visual features. Furthermore, they will use various types of software to create, edit and publish texts for a specific audience.

Ultimately, your child will learn about:

• Identifying texts in content
• Interacting with others to create purposeful texts and presentations that present a point of view to influence a course of action
• Interpreting, analysing, and evaluating texts to identify value, beliefs and assumptions, choose appropriate, and use efficient comprehension strategies
• Creating and editing texts with consideration of purpose and audience

Assessments in Year 10 English

Throughout the year, your child will create a portfolio of work that includes responding, writing, and presenting a range of imaginative, informative and persuasive texts . These assessments will teach students about the importance of considering language selection and intent, purpose and audience, and text structure, vocabulary and literary devices throughout the course of their English studies.

These text types include:

• Oral presentations
• Persuasive texts
• Group presentations
• Literary responses

For a better understanding of what kinds of tasks and at what level your child is expected to perform at, take a look at these sample portfolios:

• Above Satisfactory
• Satisfactory
• Below Satisfactory

Check out our ultimate guide to studying English in Year 10 here for more tips on how to ace English.

Year 10 English Achievement Standards

Here’s a dot point summary of the milestones your child is expected to achieve by the end of their Year 10 period:

Listening, reading and viewing

• Evaluate how text structures can be used in innovative ways by different authors
• Explain how the choice of language features, images and vocabulary contributes to individual style
• Develop and justify their own interpretations of texts.
• Evaluate other interpretations, analysing the evidence used to support them.
• Listen for ways features within texts can be manipulated to achieve particular effects.

Speaking, writing and creating

• Show how language features can achieve precision and stylistic effect.
• Explain different viewpoints, attitudes and perspectives through cohesive and logical arguments.
• Develop their own style by experimenting with language features, stylistic devices, text structures and images.
• Create a wide range of texts to articulate complex ideas.
• Make presentations and contribute actively to class and group discussions, building on others’ ideas, solving problems, justifying opinions and developing and expanding arguments.
• Demonstrate understanding of grammar, vary vocabulary choices for impact, and accurately use spelling and punctuation when creating and editing texts.

If you’d like to learn more details about the Year 10 English Syllabus, check the full page out here!

Based in NSW and thinking about what your child will be studying once they reach Year 11? Learn all about what the HSC is with our guide . You can also learn about the different levels of HSC English they can choose from.

Looking for some extra help for your child with Year 10 English?

We have an incredible team of english tutors and mentors.

The NSW English syllabus has recently changed! Here’s what you need to know about these changes!

We offer tutoring and mentoring for students in Years K-12 in a variety of subjects, with personalised lessons conducted one-on-one in your home or at one of our state of the art campuses in Hornsby or the Hills!

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Ashley Sullivan is a Content Writer for Art of Smart Education and is currently undertaking a double degree in Communications (Journalism) and a Bachelor of Laws at UTS. Ashley is an editor for UTS Vertigo. She is a film, fashion and fiction enthusiast who enjoys learning about philosophy, psychology, and unsolved mysteries in her spare time.

• Topics: ✍️ Learn , ✏️ English

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Free Online Narrative Essay Structure flashcards for Year 10

Master Grade 10 Narrative Essay Structure with Quizizz! Explore our curated flashcards for a fun, interactive learning experience.

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Introducing our Narrative Essay Structure flashcards, specifically tailored for grade 10 students. These flashcards provide a comprehensive overview of the structure and elements necessary for crafting a compelling narrative essay. Each flashcard encapsulates key concepts, from the introduction to the climax and resolution, making it easier for students to understand and remember. The flashcards also include examples and tips to help students apply these concepts in real-life essay writing scenarios. They are designed to be engaging, informative, and a valuable tool for mastering narrative essay structure. Quizizz offers a range of features that have made it a favourite among educators. With its ease of use and flexibility of game modes, Quizizz facilitates both fun and learning in a unique way. Teachers can create tailored quizzes, monitor individual student progress, and even utilize AI features for a more personalized learning experience. Our extensive Quizizz library and versatile question types make unit reviews, test preparation, and independent practice more engaging and effective. With Quizizz, teachers have a powerful tool at their fingertips that is not just educational, but also free and easy to navigate.

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The Beginner’s Guide to Year 10 English

Guide Chapters

• 1. How to make notes
• 2. Textual analysis
• 3. Analysing prose fiction
• 4. How to analyse Shakespeare
• 5. How to analyse a film or TV show
• 6. How to analyse non-fiction
• 7. How to analyse digital texts
• 8. Composing English responses
• 9. How to write informative essays
• 10. How to write creatives
• 11. Speeches and Multimodal Presentations
• 12. Exam skills

All about The Beginner’s Guide to Year 10 English

The Beginner’s Guide to year 10 English is here to help you ace English in year 10. English is really important, it has to count in Year 12 for your HSC. So, you have to get the skills right for it early on.

In this Guide, we will take you through the complete process for studying English, from making notes, to analysing texts, and finally composing responses.

Let’s start by looking at the two biggest issues facing Year 10 English students.

What are the two biggest issues facing Year 10 English students?

While there are a whole variety of struggles that Year 10 students face, they come down to two core issues:

• Getting caught in a Year 10 slump
• Struggling to cope with the increasing complexity of English analysis and essay writing

Let’s look at these in greater detail.

The Year 10 slump

Because Stage 5 comes in the middle years of high school, Years 9 and 10, students often take their foot off the gas.

Unlike Maths and Physics, English doesn’t have distinctive Modules and Units where you learn completely new techniques. Instead, in English, you learn to develop your skills incrementally.

That is, as the texts get more complex, your analysis of them is expanded to consider new ideas and techniques. When you write about them, your basic skills are pushed further little by little as the length of your responses increases along with the complexity of your ideas.

As students don’t see huge differences between junior English and what they do in Years 9 and 10, they feel it is easy and stop trying. This is especially true of students in year 10.

Unfortunately, as Year 10 moves fast, once students find themselves falling behind it can be very hard for them to catch back up.

Adding to the challenge is the necessity that you develop a complex understanding of texts.

Developing complex understandings of texts

While we looked at this a little in The Beginner’s Guide to year 9 English , Year 10 is where you will really expand your understanding of how to analyse texts and what you need to think about for your responses.

For the most part, in years 7-9, you primarily focus on the text and what is inside it. In Year 10, you expand your focus to include a large range of external concerns.

According to the NESA Syllabus outline , these are:

• Context : The social, personal, and historical conditions surrounding the production of a text.
• Values and attitudes : The beliefs and views on these beliefs that are discussed or reflected in the texts
• Reception : The way a text is received in different time periods.
• Perspective : The different ways an issue can be viewed, presented, or discussed

What does this mean for you, as a year 10 English student?

Well, rather than just analysing texts and thinking about what’s going on in a text and how a composer has represented that, you now need to engage in critical thinking by considering how these external factors have shaped the text. or, consider how the text is a response to these external concerns.

This means that your analysis of texts needs to develop significantly, but you also need to acquire a lot of new information.

As we will discuss, you will need to learn about a wide array of contexts, artistic movements, and ideologies and belief systems.

Fortunately for you, this Guide will give you all the tools to do that.

What’s in the Guide?

In this Guide, we’re going to help you master the following:

• How to write notes
• Textual analysis – analysing context, genre, and higher order techniques
• How to analyse complex prose fiction texts
• How to analyse Shakespeare
• How to analyse film
• How to analyse prose non-fiction texts
• How to analyse digital texts
• Composing responses in year 10
• How to write persuasive essays
• How to write creatives – developing complex stories
• How to make multimodal presentations
• Year 10 Exam skills

How does English Change in Year 10?

English doesn’t change dramatically between Years 9 and 10 by introducing brand new skills or tasks. Instead, it becomes more involved and challenges you with texts that have greater levels of complexity and depth.

In addition, you will need to produce more detailed and involved written and oral responses to demonstrate your understanding. For example, you may need to present a multimodal presentation or write a comparative essay.

Let’s look at the sorts of assessments you might face.

What kinds of assessments can you expect?

Similarly to Year 9, you can expect to face any of the following sorts of assessment tasks:

• Short answer comprehension questions : Similar to previous years, but the texts will be harder, and the length of your responses will increase with the depth of your analysis
• Informative essays : Essays that aim to inform the reader of a subject or idea
• Persuasive essays : Essays that aim to convince the reader of the validity of a particular perspective
• Speeches : oral tasks that require you to persuade or inform the audience
• Presentations : Similar to speeches, but presented with visual aids such as props or images
• Multimodal presentations : Presentations utilising powerpoint slides or other digital visual aids
• Podcasts : A topical audio presentation taking the form of an episode of a serialised podcast show
• Vlogs : A video blog post. These are normally a personal response to an issue or theme in a text
• Video essays : Similar to a vlog, but more formal in tone. Video essays incorporate clips and images to support the argument being made
• Reflections : A type of writing task where you discuss how you approached a task and weigh up what you did well and poorly. reflection tasks ask you to discuss how you will improve in the future.
• Short stories : Short narratives. In Year 9, you will be expected to produce narratives that have a clear structure and well-developed characterisation.
• Creative reimaginings : Fanfiction! A form of creative writing where you retell an aspect or scene from a text from the perspective of a different character or with a different outcome
• Justifications : A type of reflective writing where you explain what you have attempted to achieve with a particular piece. For example, justifications offer you an opportunity to explain how you’ve used a technique in your creative writing.

While you may not face completely new assessment tasks in Year 10, you will need to engage with texts in a far more detailed manner.

Analysing texts in Year 10

As we saw with Year 9, you need to look at texts with more much more depth in Year 10.

While the basic process of analysing texts doesn’t change, you do add some new elements that you must consider and apply critical thinking to.

Let’s see what these are.

How analysis develops in Year 10

In Year 9, you will have started to engage with higher order techniques and considerations outside of the text.

In Year 10, you will still need to be able to identify these. But, in addition, you must be able to explain how these techniques and considerations affect and develop meaning as well.

Analysing advanced techniques

In Year 10 English, you may need to be able to identify and discuss how higher order literary techniques like symbolism, extended metaphor, satire, and parody create meaning.

You will need to have a comprehensive understanding of how these techniques create meaning:

• Abstraction
• Icons and symbols
• Tone and voice
• Juxtaposition
• Exaggeration

You will also need to be comfortable using metalanguage to describe how a composer has used them in texts and what the effect on meaning is.

Deepening your readings

In Year 10 English, you will need to take into account a text’s perspective and structure, as well as considering things like context and audience.

You will need to be confident analysing and discussing how the following affect and shape meaning:

• Textual Structure
• Perspective and narrative viewpoint
• Genre and genre conventions
• Literary style
• Intertextuality, adaptation, and allusion
• Cultural values and assumptions
• Values, value systems, and attitudes
• How ideas can be represented and engaged with differently in different contexts

To apply this information to your analysis of texts, you will need to develop your critical thinking skills.

Additionally, you will also need to think about and discuss how composers try to engender the following responses in audiences:

• Aesthetic appreciation

To do this effectively you’re going to need to expand your knowledge around quite a few areas.

Let’s see what those are.

What do you need to know to ace English in Year 10?

To succeed in year 10 English, you are going to learn about different contexts, literary forms and genres, artistic movements, ideologies and belief systems.

Because English texts deal with representing human experiences, they engage with human history and human responses to history and events. This means that as a student of literature, you must know about what has shaped and influenced literature.

This can prove challenging and also a little overwhelming.

Developing an understanding of important contexts, movements, ideologies, forms, and genres in year 10 will make the transition into Stage 6 English far far easier and less onerous. You can develop your knowledge consistently, rather than trying to do everything in the Preliminary or HSC years.

Increasing the depth and breadth of your knowledge

One way to think of developing your ideas is to consider the breadth and depth of your knowledge as being like the knowledge of an ocean.

• As you expand the breadth of your knowledge by learning about new movements, contexts, or ideas you are expanding your knowledge of the surface of the ocean.
• As you start to learn more and more about each specific new movement, form, genre, etc., you are exploring deeper and deeper into the ocean.

Broadly speaking, you will need to learn about things like:

• Context : The Renaissance, The Elizabethan Period, The 19th Century, etc
• Artistic movements : Realism, Modernism ( and its submovements like Cubism), Postmodernism, Baroque, etc.
• Genres : Historical fiction, Realism, Science fiction, Horror, etc.
• Forms : Epistolary texts, Diachronic or dialogic texts, Sonnets, etc.

We will look at the particulars of what you need to know in part 2 of this Guide.

This new knowledge will compel you to develop your skills as a critical thinker and a writer.

What skills do I need to develop for Year 10 English?

Having more to think about and write about means students need to develop as thinkers and writers.

You will need to take your knowledge of a text and think about it in terms of its context, genre, or form and discuss its impact on meaning.

The Matrix Method TM that Matrix students learn helps them develop a detailed foundational understanding of texts, first, before they learn and apply the best process for planning, drafting, and polishing their writing.

Does this mean you will learn lots of new skills in Year 10 English?

Not new skills, but developing existing skills for Stage 6

You will still be writing essays and giving presentations or writing narratives, but you will need to take into account these new considerations.

This means that your notes are going to be much more important. Not only will you be keeping track of the themes, techniques, and examples from the texts you are studying, you will be including you findings about a text’s context, genre, and ideological influences.

You will also need to become adept at researching the information you don’t know. Part of your analysis of texts will now include learning abut its genre, genre conventions, or context, for example.

When you write responses, you will need to utilise more complex structures to discuss these relationships and develop arguments about them. You will need to master using signposting and various scaffolds for different tasks to make sure your ideas accessible for readers as well as insightful.

So, in Year 10, you must focus on developing and improving these skills:

• Making notes
• Researching
• Critical thinking
• Drafting and editing

This may all sound overwhelming. But don’t worry, we’ve used our experience of helping thousands of other students like you succeed to put this Guide together to help you.

A note about Stage 5 English

While we have tried to make this Guide as comprehensive as possible, the nature of Stage 5 English means that some skills will be taught in Year 9 and others in year 10. To ensure that you’ve not missed any Stage 5 content, you should take the time to read through The Beginner’s Guide to Year 9 English as well as this guide.

Part 1: How to Take and Write English Notes in Year 10

© Matrix Education and www.matrix.edu.au, 2023. Unauthorised use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Matrix Education and www.matrix.edu.au with appropriate and specific direction to the original content.

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More essential guides

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Years 10-12 Course: Essay Writing

Years 10-12 study and essay skills. the smart way to prepare for your hsc..

This two-day Essay Writing course focuses on the essay form and related critical thinking, language and punctuation skills for students in Years 10 - 12. The course is relevant to a range of subjects that require the writing of essays for assignments and exams.

We will study how to structure essays, organise ideas and information, and write in appropriate language for assignments and exam essays. There will be an analysis of the essay form and the need for an organised, logical argument with evidence and analytic discussion of the evidence. This will include a focus on appropriate language, rhetoric and punctuation as well as study of the nature of a formal voice, appropriate educated vocabulary for different courses, and the range from a formal to a more conversational voice. Sophisticated punctuation is introduced as a mode of complex thinking. The sections on the body of the essay focus on critical thinking and argument as a combination of a sequence of ideas, evidence and extended analytic comment about evidence.

This will be followed by an overview of the traditional structure of introduction, body and conclusion. The course then provides an introduction to critical thinking and argument in relation to Bloom’s taxonomy and syllabus outcomes and questions and marking guidelines for examinations in New South Wales.

There will be detailed teacher presentation and student discussion and practice writing the introduction, body and conclusion of an essay on a topic of their own choice. Your writing will be reviewed individually in one-on-one sessions, with the teacher providing advice about your individual work as well as the form of the essay. The discussion of the body and the related practice writing includes special focus on making connections between ideas, evidence and different texts, areas and authorities (synthesis).

The timing of research and writing is explored throughout the course and stressed in the discussion of the essay conclusion, along with the fact that an appropriate conclusion is essential, and with guidance about to how write a successful conclusion.

Throughout the course, students are advised about the importance of genuine interest in order to write genuinely interesting essays. Discussion of related examination material – including examination papers and high-ranking English essays - provided by NESA further supports individual student responses and individual student practice in writing essays.

By the end of this course, you should be able to:

• plan and structure an essay in relation to a research assignment or examination question and with awareness of the significance of learning for any essay
• write an essay with an introduction, body and conclusion
• write an essay with a focus on critical thinking and a sustained argument that combines ideas, evidence and analytic exploration of evidence in relation to the development of the argument
• write an essay with the advantage of analysis and discussion of Bloom’s taxonomy and its relation to advanced critical thinking, syllabus requirements and examination standards, including making connections between parts of texts, between texts, and between areas of knowledge and learning (synthesis)
• develop appropriate vocabulary, rhetoric and punctuation in a formal and individual written style suitable for essays and subjects in Stages 5 and 6
• respond to research essays and examination essays with appropriate discussion and practice about the importance of timing
• develop a focus on individual responses and essays written in an individual, educated voice
• write essays with understanding of NESA syllabus and prescription requirements, marking guidelines and previous exam answers
• improve essay writing across a wide range of ability and a high level of achievement
• analyse and respond to NESA material about syllabus and prescription requirements, and previous examination questions and essays.
• Planning an essay in relation to a research or examination question and in relation to the importance of knowledge and learning for an essay
• Discussion, analysis and written practice of the structure of an essay in relation to the introduction, body and conclusion
• Discussion, analysis and written practice in critical thinking and the development of a sustained argument that combines ideas, evidence and analytic exploration of evidence in relation to the development of the argument
• Discussion and written application of Bloom’s taxonomy in relation to essay writing, including use and discussion of evidence and synthesis, and in relation to examination standards
• Discussion and written practice about a formal essay voice and appropriate vocabulary, rhetoric and punctuation, including focus on sophisticated punctuation as a mode of complex critical thinking
• Discussion and written practice in relation to NESA syllabus and prescription requirements, marking guidelines and previous exam answers combined with advice about exam conditions and timing
• Advice about successful essays based on HSC marking experience
• Teacher reading and advice about students’ essay writing in order to define individual areas for improvement and strengths

Intended audience

Students in Years 10-12 English and other essay based courses.

Delivery style

A combination of tutor presentation, group discussion, reading and writing practice and tutor advice about your writing. You should be prepared for interactive learning and should bring your own “fully charged device” plus writing materials. You will need access to self-selected school texts for practice essay writing as the course progresses. Online activities supplement learning activities.

You will be provided with a course booklet (electronic copy) using Dropbox which includes previous examination questions and answers.

Bring your own device

You are required to bring your own device (Windows or Mac) and a power cord. Please ensure your device is fully charged as access to power is limited.

Please note that University does not carry any responsibility for your lost, stolen, or damaged devices whilst on the University premises.

NESA English Advanced Syllabus 2017 EA12-1, EA12-2, EA12-3, EA12-4, EA12-5, EA12-6, EA12-7, EA12-8, EA12-9

Getting Through Your HSC: A Practical Guide

While you progress through this journey and also the conclusion of your schooling life, we know you’ll have a lot on your mind – exams, future study, careers – but remember, while keeping focused on these bigger goals and aspirations, it’s also important not to forget your own health and well-being.

For tips on staying motivated and keeping focused, dealing with anxiety, keeping healthy, relaxation, pre-study exercise and more, read our article Getting Through Your HSC: A Practical Guide .

Years 10-12 HSC Essay Writing Course - Exam preparation Enrol in a two-day essay writing course for Years 10-12. Develop an in-depth understanding of essay form, critical thinking, language & punctuation skills. Face-to-face in Sydney. Enrol now.

Class schedule

<p>{block name:"Course Tagline - Years 10-12 Study and Essay Skills"}</p>

<p>This two-day Essay Writing course focuses on the essay form and related critical thinking, language and punctuation skills

2024-10-01 Tue 1 Oct 2024 - 2024-10-02 Wed 2 Oct 2024

8:30am - 4:30pm 8:30am - 4:30pm (UTC+10:00)

2 sessions, 16 hours total

Alison Cardinale

Tue 1 Oct 2024

8:30am - 4:30pm (UTC+10:00)

ABS Seminar Room 3170 - Abercrombie Business School (H70)

Wed 2 Oct 2024

2024-10-03 Thu 3 Oct 2024 - 2024-10-04 Fri 4 Oct 2024

Thu 3 Oct 2024

ABS Seminar Room 2020 - Abercrombie Business School (H70)

Fri 4 Oct 2024

If there isn't a class to suit your preferred time or delivery format, please JOIN the waiting list.

Featured facilitators

Dr Alison Cardinale is an experienced secondary English teacher with a B.A. (Hons) in English Literature and a Master of Teaching qualification from the University of Sydney, along with a PhD in...

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• HSC English Standard & Advanced Preparation Course - Common Module: 'Nineteen Eighty-Four'
• HSC English Standard & Advanced Preparation Course - Common Module: 'The Crucible'
• HSC English Standard & Advanced Preparation Course - Common Module: 'The Merchant of Venice'
• Years 10-12 Course: Study Methods

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• Knowledge Base
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• College Essay Format & Structure | Example Outlines

College Essay Format & Structure | Example Outlines

Published on September 24, 2021 by Meredith Testa . Revised on May 31, 2023.

There are no set rules for how to structure a college application essay, but you should carefully plan and outline to make sure your essay flows smoothly and logically.

Typical structural choices include

• a series of vignettes with a common theme
• a single story that demonstrates your positive qualities

Table of contents

Formatting your essay, outlining the essay, structures that work: two example outlines, other interesting articles, frequently asked questions about college application essays.

You should keep the formatting as simple as possible. Admissions officers need to work very quickly, so fancy formatting, unnecessary flourishes, and unique fonts will come off as more distracting than individual. Keep in mind that, if you’re pasting your essay into a text box, formatting like italics may not transfer.

Your essay will be easier for admissions officers to read if it is 1.5- or double-spaced. If you choose to attach a file, ensure that it is a PDF.

You don’t need a title for your essay, but you can include one, especially if you think it will add something important.

Most importantly, ensure that you stick to the word count. Most successful essays are 500–600 words. Because you’re limited in length, make sure that you write concisely . Say everything that you need to express to get your point across, but don’t use more words than necessary, and don’t repeat yourself.

Prevent plagiarism. Run a free check.

Once you’ve finished brainstorming topics but before you start writing, think about your writing’s trajectory: how you’ll start the essay , develop it, and end it .

Do you want to organize it chronologically? Would you prefer to make a “sandwich” structure by introducing a topic or idea, moving away from it, and then coming back to it at the end? There’s a variety of options (and a pair of strong examples below), but make sure you consider how you’d like to structure the essay before you start writing.

Although you should organize your thoughts in an outline, you don’t have to stick to it strictly. Once you begin writing, you may find that the structure you’d originally chosen doesn’t quite work. In that case, it’s fine to try something else. Multiple drafts of the same essay are key to a good final product.

Whatever structure you choose, it should be clear and easy to follow, and it should be feasible to keep it within the  word count . Never write in a way that could confuse the reader. Remember, your audience will not be reading your essay closely!

Vignettes with a common theme

The vignette structure discusses several experiences that may seem unrelated, but the author weaves them together and unites them with a common theme.

For example, a student could write an essay exploring various instances of their ability to make the best of bad situations. A rough outline for that essay might look like this:

• In a rehearsal for a school play when a lighting fixture malfunctioned and the set caught fire, I helped extinguish it.
• To help the situation, I improvised fixes for the set and talked with the director about adding lines referencing the “disaster.”
• I didn’t get into my first-choice high school, but I became class president at the school where I ended up.
• When I had ACL surgery, I used the downtime to work on my upper body strength and challenged my friends to pull-up contests.
• How these qualities will serve me in college and in my career

Single story that demonstrates traits

The narrative structure focuses on a single overarching story that shows many aspects of a student’s character.

Some such essays focus on a relatively short event that the author details moment by moment, while others discuss the story of a longer journey, one that may cover months or years.

For example, a student might discuss trying out for a sports team as a middle schooler, high school freshman, and high school senior, using each of those instances to describe an aspect of their personality. A rough outline for that essay might look like this:

• Confident, there to have fun
• Very passionate and in love with the sport
• Little sister was born that day, so I had to go alone with a friend’s parents
• Learned to be independent and less self-centered
• Realized that as much as I love gymnastics, there are more important things
• Gave up first homecoming of high school, had to quit other activities, lost countless hours with friends
• I had to repeat level 9 and didn’t progress quickly
• I had a terrible beam routine at one competition the previous year and still had a mental block
• I got stuck on some skills, and it took over a year to learn them
• Passion from age 7, perspective from age 11, diligence from age 15

If you want to know more about academic writing , effective communication , or parts of speech , make sure to check out some of our other articles with explanations and examples.

Academic writing

• Writing process
• Transition words
• Passive voice
• Paraphrasing

 Communication

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• Ms, mrs, miss
• How to start an email
• I hope this email finds you well
• Hope you are doing well

 Parts of speech

• Personal pronouns
• Conjunctions

There are no set rules for how to structure a college application essay , but these are two common structures that work:

• A montage structure, a series of vignettes with a common theme.
• A narrative structure, a single story that shows your personal growth or how you overcame a challenge.

Avoid the five-paragraph essay structure that you learned in high school.

Your college essay’s format should be as simple as possible:

• Use a standard, readable font
• Use 1.5 or double spacing
• If attaching a file, save it as a PDF
• Stick to the word count
• Avoid unusual formatting and unnecessary decorative touches

You don’t need a title for your college admissions essay , but you can include one if you think it adds something important.

Cite this Scribbr article

If you want to cite this source, you can copy and paste the citation or click the “Cite this Scribbr article” button to automatically add the citation to our free Citation Generator.

Testa, M. (2023, May 31). College Essay Format & Structure | Example Outlines. Scribbr. Retrieved September 3, 2024, from https://www.scribbr.com/college-essay/format-outline-structure/

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Writing essays can be straightforward when you have a clear essay plan.

Students are introduced to composing more complex and extended texts as they progress through their schooling.

• In Stage 2 (Years 3 and 4), students write longer texts with multiple paragraphs.
• From Stage 3 (Years 5 and 6), students are writing complex, longer texts.
• In high school, students write extended responses or essays in most subjects.

The following general advice will be helpful to read through with your child – Year 5 and above.

Teachers of individual subjects and year levels will have more specific information related to individual tasks.

Essay structure

An essay is an extended answer to a set question. Most extended responses follow the same structure of 3 main parts: introduction, body and conclusion. All essays should be thoroughly planned before starting writing.

1. Introduction

The first paragraph answers the question and outlines the ideas to be presented in the essay. It makes a first impression on the reader – the reader now knows what to expect. Do not just rewrite the question; it is important to give a point of view.

The body of an essay should be at least 4 to 6 paragraphs in length. Each paragraph introduces one major idea. Each idea should be fully explained and supported by evidence such as statistics, examples, quotes from a text or authority, or an explanation of events. If an idea is particularly complicated it may require more than one paragraph.

Never cram lots of different ideas into one paragraph. On the other hand, if all paragraphs are very short, the extended response will be a series of disjointed points rather than a coherent, logical argument.

The basic structure of each paragraph is:

• topic sentence (a generalisation to introduce the paragraph’s purpose) – this  will normally be the first sentence
• explanation and elaboration of your point
• examples, quotations or evidence
• final concluding sentence which links with the paragraph that follows.

A good way to remember the structure is TEEL – Topic sentence, Explanation, Examples and Link.

3. Conclusion

A conclusion shouldn’t only restate the question or repeat the introduction. Don’t start with ‘In conclusion, to sum up etc.’ A conclusion should be a summary of the various points of your argument. Don’t throw in new information – that shows a lack of planning.

Writing an essay

The most important thing to do when writing an essay is to answer the question asked. Questions never require students to ‘tell us everything you know about the topic’ so it is important to carefully read the question asked. The best students circle or highlight the main words in the question so they stay focused on what they are writing about.

Extended responses usually have a key word which directs the structure such as, ‘explain’, ‘describe’, ‘analyse’ and so on. This helps students understand the structure their essay should take.

Writing essays at home, in class, or during an exam requires the same steps – the time taken will be different.

• The most important step is planning –  work out what the question is asking. Circle or highlight the important words – including the key words that tell you how to approach your answer.
• Brainstorm facts, examples, evidence and so on relevant to the question – remember your focus is to answer the question asked – no question is going to ask you to write everything you know about a topic.
• Sort your brainstorm into a logical order – link ideas that go together – an essay needs to flow logically.
• Once there is a clear and logical plan to follow, start writing. It is important to stay on message – use topic sentences which focus on answering the question asked. Remember, one idea equals one paragraph.
• Provide elaboration, evidence, explanation, examples, evaluation or analysis as required by the question.
• Ensure the essay flows logically. Linking sentences can be used to connect ideas in paragraphs.
• Read over the response carefully to make sure the answer to the question is clear, that there is evidence and/or examples to support the answer. Read as a reader, not as a writer. If the task is done at home, having a fresh set of eyes such as a parent or sibling read the essay will highlight possible issues as it’s easy to miss mistakes in your own writing, as you know what you meant.
• Regardless of the subject, using formal English is important when writing a formal essay. Use clear, logical paragraphs, full sentences, correct spelling and punctuation and an effective vocabulary – no slang or writing like you speak.

Use the following checklist when reading through an essay.

• answers the question asked
• uses paragraphs to logically structure ideas – each focuses on the question asked
• has an introduction which outlines reasons for the answer to the question
• has a body made up of several paragraphs – each paragraph elaborates on a point
• uses topic sentences in paragraphs
• uses effective language so your point of view is clear
• has a conclusion which reiterates the main points but does not include any new information
• does not re-tell the story
• contains no colloquial language or slang
• has correct spelling and punctuation
• adheres to the word limit.

Under exam conditions, there is limited time for students to write their essays – generally about 40 minutes. Impress upon them the importance of planning and checking, even when writing a response under exam conditions.

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Jekyll and Hyde: Essay Help - Study Guide

Subject: English

Age range: 14-16

Resource type: Unit of work

Last updated

1 September 2024

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Here is a list of possible ideas on the question “How does Stevenson Present Victorian Society?”, that students might use in their essays. Keep track of this list and make sure you use these ideas in your own responses for future essays (as long as the topic is relevant)!

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This bundle contains everything you need to teach or study Stevenson's novella 'The Strange case of Dr Jekyll and Mr Hyde' in the form of digital and printable PDF documents. It’s perfect for students aged 14+. **This bundle is currently available at a 50% discount! ** Preview this document for free, to check whether it’s right for you [Jekyll and Hyde: Character Breakdown / Analysis](https://www.tes.com/teaching-resource/resource-13110830) With this bundle, students will be able to: * Understand the structural elements and key moments of the plot * Deepen their knowledge of characters, including understanding the deeper messages behind each one * Integrate the significance of the setting into their analyses and interpretations of the play as a whole * Memorise a range of carefully chosen key quotations for use in essays and analysis * Develop their language, structure and form analysis skills, with guided support and examples * Identify and analyse the thematic and contextual details * Learn approaches to a range of essay question types: discursive, argumentative, close reading * Become confident with extract interpretation and analysis * Develop their knowledge of tragic conventions and apply them to the novella * Expand their critical aptitude via exposure to key critical frameworks and critics’ quotations (for higher-level students) * Write their essays on Jekyll and Hyde, after support with planning help and example A* / top grade model answers Reasons to love this bundle: * Downloadable PDF documents, graphically designed to a high level, PowerPoints (ppts) and worksheets * Visual aids (photographs and drawings) to support learning * Organised categories that simplify the text for students * Print and digital versions - perfect for any learning environment * The unit has everything you need to start teaching or learning - starting with the basic story summary, going right up to deep contextual and critical wider readings * Lots of tasks and opportunities to practice literary analysis skills - students will be guided through writing a literary analysis response to the novella This is what you’ll get with this bundle: (each document includes digital + printable revision guide + PowerPoint + worksheet) THE COMPLETE JEKYLL AND HYDE COURSE: 1. Character Analysis / Breakdown (FREE!) 2. Plot Summary / Breakdown 3. Context Analysis 4. Genre 5. Key Quotations 6. Narrative Voice 7. Setting 8. Themes 9. Critical Interpretation / Critics' Quotations 10. Essay Help 11. Essay Planning 12. PEE Paragraph Practise 13. Essay Practise (Gothic Atmosphere) 14. L9 / A* Grade vs L7 / A Grade Example Essays + Feedback (Frightening Outsider) 15. L9 / A* Grade Essay Example (Tension and Mystery) 16. L8 / A Grade Essay Example + Feedback (Unnatural and Threatening) 17. L6 / B Grade Essay Example + Feedback (Suspicious Atmosphere) 18. L4 / C Grade Essay Example (Secrecy and Reputation) 19. Study Questions / Exercises 20. Essay Questions + Passage-based Questions Please review our content! We always value feedback and are looking for ways to improve our resources, so all reviews are more than welcome. Check out our [shop](https://www.tes.com/teaching-resources/shop/Scrbbly) here.

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