creative writing reflective commentary example

Masters Degree Creative Writing: A Journal

Studying the craft of writing

An Example Critical Commentary

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

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

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

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

TMA 06: A Critical Commentary

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Word count: 3300 words

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Reflective writing

Advice on how to write reflectively.

Reflective writing gives you an opportunity to think deeply about something you've learned or an experience you've had.

Watch the video below for a quick introduction to reflective writing. The video includes an example of reflecting on practice, but the approach is equally useful when reflecting on theory.

Video tutorial

Reflecting on practice.

Reflective writing may ask you to consider the link between theory (what you study, discuss and read about at university) and practice (what you do, the application of the theory in the workplace). Reflection on practical contexts enables you to explore the relationship between theory and practice in an authentic and concrete way.

"Yesterday’s class brought Vygotsky’s concepts of scaffolding and the ‘significant other’ into sharp focus for me. Without instruction, ‘Emily’ was able to scaffold ‘Emma’s’ solving of the Keystone Puzzle without directing her or supplying her with the answer – she acted as the ‘significant other’. It really highlighted for me the fact that I do not always have to directly be involved in students’ learning, and that students have learning and knowledge they bring to the classroom context."

What this example does well:

Links theory to practice.
Clearly states where learning occurred.

De-identify actual people you have observed or dealt with on placement or work experience using pseudonyms (other names, job titles, initials or even numbers so that real identities are protected). E.g.:

"It was great to observe ‘Lee’ try to..."
"Our team leader’s response was positive…"
"I observed G’s reaction to this..."
"Student Four felt that this was…"

"The lectures and tutes this semester have broadened my views of what sustainability is and the different scales by which we can view it . I learned that sustainability is not only something that differs at an individual level in terms of how we approach it ourselves, but also how it differs in scale. We might look at what we do individually to act sustainably, such as in what and how we recycle, but when we think about how a city or state does this, we need to consider pollution, rubbish collection and a range of other systems that point to sustainability on a much larger scale."

Clearly states where learning occurred
Elaborates on key issues
Gives examples.

"On the ward rounds yesterday, I felt Mr G’s mobility had noticeably improved from last week. This may be due to the altered physio program we have implemented and it allowed me to experience a real feeling of satisfaction that I had made a real difference."

Action verbs are usually expressing feelings and thoughts in reflective writing, e.g. felt, thought, considered, experienced, wondered, remembered, discovered, learned.

Reflecting on theory

Some reflection tasks are purely theoretical, where you are asked to consider texts you have read, or ideas you may have discussed in tutorials, and reflect on them.

"Comparing the approaches of Mayr and Ulich (2009) and Laevers (2005) to what 'wellbeing' means for the early childhood setting was very illustrative in that I discovered they seek to do similar things but within different frameworks. Analysing the two constructs highlighted that the detail in Mayr and Ulich’s framework provided a much richer framework in defining and measuring wellbeing than Laevers’ does."

References correctly.
Considers what the theory has shown.

Using the DIEP model

When writing reflectively for the first time, it’s not uncommon to produce a summary or description of the event or experience without deeply reflecting on it.

Reflective writing needs to go beyond simply summarising what happened. Your reader needs to gain an insight into what the experience meant to you, how you feel about it, how it connects to other things you’ve experienced or studied and what you plan to do in response.

To be sure you don’t leave out any of these critical elements of reflection, consider writing using the describe, interpret, evaluate, plan (DIEP) model to help.

DIEP approach adapted from: RMIT Study and Learning Centre. (2010). Reflective writing: DIEP .

You can and should refer to yourself in your reflection using personal pronouns, e.g. I, we...

Begin by describing the situation. What did you see, hear, do, read or see? Be as brief and objective as possible.

Starting phrases:

The most interesting insight from my lecture this week is ...
A significant issue I had not realised until now is ...
I now realise (understand ...) that ...

Interpret what happened. What new insights have you gained? How does this experience connect with other things you’ve learned or experienced before? How did the experience make you feel?

This experience idea is relevant to me because…
This reminded me of the idea that…
A possible implication could be…

Make a judgement. How useful was this experience for you? What is your opinion? Why do you think this might be?

Having realised the importance of ..., I can now understand…
This experience will change the way I view ...
Being able to see… in this way is extremely valuable for me because…

Comment on how this experience might inform your future thoughts or actions. How could you apply what you’ve learned from the experience in the future? How might the experience relate to your degree or future professional life?

This is beneficial to me as my future career requires…
In order to further develop this skill…I will…
Next time…I will…by…

[TS] The most surprising insight I have gained so far is how important recording and distributing succinct and accurate information is to the success of the project. [D] In the first week of my internship, I was asked to record some meeting minutes and distribute them to the project team and the client. [I] I initially felt offended as the task appeared trivial to me; it was something we rarely did during team meetings at university. [E] However, after speaking with my industry supervisor, I began to understand how important it is to keep a clear record of the meaningful points raised during meetings. [I] Making accurate notes of the key outcomes was harder than I expected as the rest of my team was relying on my minutes to know what they needed to do. [D]After reviewing my minutes, my supervisor agreed that they were sufficiently clear and accurate. [I] I’ve realised that poorly recorded minutes could have resulted in missed deadlines, miscommunication and costly implications for our contract. [P] To improve my ability to take notes I plan on reviewing the minutes made by my colleagues for other meetings and to investigate note taking techniques such as mind mapping (Trevelyan, 2014). Mind mapping uses links and annotations to record relationships between words and indicate significance. [I] This will help me to continue to develop my skills in this area and develop my ability to “prepare high quality engineering documents” as part of attaining the Stage 1 competency of written communication (Engineers Australia, 2018).

Trevelyan, J. P. (2014). The making of an expert engineer: How to have a wonderful career creating a better world and spending lots of money belonging to other people . Leiden, The Netherlands: CRC Press/Balkema.

Ask yourself:

Have I based my reflection on a specific incident, activity, idea or example?
Have I sufficiently critically analysed the situation?
Have I integrated theory in a meaningful way? Can I elaborate further to demonstrate the relevance of the idea and my understanding of it?
Are my plans specific enough? Can I be more concrete?

When editing your draft, try colour coding each element of DIEP to be sure you have a balance of elements.

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Introduction to Reflection

There are many ways to produce reflection in writing. Try using these examples to kick-start your reflective writing.

Open each drop-down to see a different reflective writing example and exercise.

The Six Minute Write (Bolton, 2014)

If you are being asked to write reflectively you may feel that you do not know where to begin. Bolton’s Six Minute Writing exercise is a useful way to help get you started.

Peter has just started a course to train to be a counsellor and his tutor is asking every student to reflect on their learning and the development of their interpersonal skills. Peter is unsure where to start as reflective writing is a new thing for him, so he decides to try the Six Minute Write.

“Well, I’ve never written anything like this before! When I wrote at school I was always told to be really careful – make sure your spelling and grammar are correct, don’t use abbreviations, make it sound formal. This feels quite liberating! But, is it any good? The tutor says ‘Just write what’s in your head’ so here goes.

Today we did our first role play exercises and how scary was that? I always knew that the course would involve this and I do enjoy talking with people, but trying out listening skills and asking open questions is all really difficult. I felt so nervous and forgot what to do. The people I was working with seemed so much better than me – I know I’ve got so much to learn it’s frightening. Will I ever be able to do this? I really don’t know, but I do know I’m going to try.”

Use Bolton’s (2014, p. 136) Six Minute Write exercise to begin any writing exercise, whether academic or reflective, personal or formal.

Here are Bolton’s pointers:

Write for six minutes without stopping.
Write whatever comes to mind and let your writing flow freely.
Keep writing and do not pause to think too much about what you are writing.
Do not pause to analyse what you have written, otherwise you will be tempted to write what you think you should write rather than what you want to write.
Keep writing even if it does not make much sense to you.
Do not worry about spelling, punctuation, grammar or jargon.
Allow yourself to write anything.
This is your writing and whatever you write is correct because it is yours. Remember, no-one else needs to read what you have written.
Stop after six minutes and look at how much you have been able to write.

If we pay attention to how we think, we’ll soon notice that we are often in conversation with ourselves.

We have a kind of internal dialogue as we go about our day, making decisions (“The red top or the blue one?”) observing the world (“Beautiful day. But chilly. Where did I put my gloves?”) and maintaining self-awareness (“Oh goodness, she’s heading this way. You’re nervous? Interesting. Calm down. Be polite.”).

Reflective writing can take the shape of dialogue and be structured as a conversation with different aspects of yourself. We all have multiple identities (child, parent, student, employee, friend etc.) and each aspect of ourselves can take a different perspective on a situation.

Dialogic reflection harnesses these multiple perspectives to explore and inquire about ourselves in a certain situation, often when the purpose or outcome is unknown.

So now they’re encouraging us to try different types of reflective writing. I like the idea of this dialogical writing thing – feels like having a conversation with myself, so I think I’ll have a go. Not sure how it will pan out but I’m going to imagine talking with my organised self (OS) and my critical self (CS) and see how it goes.

OS – so doing really well at the moment, feeling pretty much on track with things and definitely on top.

CS – so how long do you think that will last? I know what you’re like! You always do this – think things are ok, sit back, relax and then get behind.

OS – do I? Umm… suppose you might be right…

CS – what do you mean, might be right?

OS – ok, you are right!

CS – and we know where this ends up, don’t we? Panic mode!

OS – and I need to avoid that. So, let’s think about what I can do. Look at the coming week and month and start planning!

Focus on an issue or concern that you have relating to your studies or practice. Imagine you are having a conversation with a friend about the issue because you want to get their perspective. Write a dialogue with “them” that explores your concerns. Raise any questions you’d like answered.

If need be, write another dialogue on the same issue with another “friend” to explore another perspective.

Once you’ve finished, re-read your conversation. Did your “friend” offer any new perspectives on the issue that hadn’t occurred to you before you began writing? Are any of these worth reflecting on further?

Driscoll (2007) What?, So what?, Now what?

Driscoll’s (2007) ‘What?’ model is a straightforward reflective cycle of 3 parts. Evolved from Borton’s (1970) Developmental Framework, it has 3 stages that ask us to consider What?, So what?, and Now what?

Step 1 – What? – involves writing a description of an event or an experience.

Step 2 – So what? – here we reflect on the event or experience and start to analyse selected aspects of it, considering why they were important and how they impacted the whole.

Step 3 – Now what? – a range of proposed action points are devised following the experience, focusing on what has been learned.

Dan is training to be a nurse in elderly care and wants to reflect on the experiences he is gaining on his placement. Dan decides to use the questions in Driscoll’s model to help him to begin to analyse what he is learning.

Step 1 – What?

Today I was observing an experienced community nurse change a dressing on a man’s leg that is badly infected. The man was nervous and became very distressed – he has had dressings replaced regularly and knows that the process is very painful. I felt awful about causing him more pain. The community nurse seemed very calm and spoke to him in a reassuring way. She asked him if he would like some pain relief and he said yes. She sat with him for ten minutes to make sure that the pain relief was working and spoke with him about his grandson’s visit that he was looking forward to at the weekend. This definitely seemed to put him at ease.

Step 2 – So what?

She made it all look so easy. How would I cope if I had to do this? As a nurse I am meant to relieve pain not cause it. She focused on the patient while I focused on myself.

Step 3 – Now what?

I learned a lot from the community nurse. She was very caring but firm. She knew the man’s dressing needed to be changed but did everything in a very calm and kind way. She distracted him and helped him to relax. These are all strategies that I can try in the future if I have to do this. Nursing isn’t only about my clinical skills; my interpersonal skills are vital, as is compassion and understanding for my patients.

Driscoll has formulated some useful questions to help us to use the model effectively, including:

Step 1 – What? – how did I react and what did others do who were involved?

Step 2 – So what? – do I feel troubled in any way, and if so, how?

Step 3 – Now what? – how can I change my approach if I face a similar situation again and what are my main learning points? What different options are there for me?

Write some notes about an experience you have had recently where you feel you have learned a lot. Can you use the stages of Driscoll’s cycle to develop this into a short reflection?

Note: Driscoll’s model is useful when you are new to professional practice and it seems like there is so much to learn. In particular, the question ‘Do I feel troubled in any way?’ is useful as our feelings can act as a prompt to deeper thinking. However, after a while you may find that you want to explore at a more complex level and move on to other approaches. It’s important to allow space for your reflective skills to develop in the same way as your professional skills.

Some small scale reflective questions :

What were 3 things that went well today/this week? How do you know?
What was a situation today/this week where I could have done better? How?
What was your biggest challenge today/this week? How did you overcome it?
What was the predominant feeling you had today/this week? Why?
What made you happy/sad/frustrated/angry/etc today/this week? Can you find some way of having more or less of the identified aspects?

Some larger scale reflective questions :

Am I optimising my time, energy and performance according to my values, goals and objectives?
Am I making the most of opportunities available to me? Am I working effectively within any fixed restrictions? Where there are barriers, am I identifying them and tackling or circumventing them where possible?
Do my values, goals and objectives still align with each other? Is this reflected in how I am spending my time?
Are my goals still the right ones to deliver on my values? Should/Can I refine or revise the strategies I am using for fulfilling my values and goals?

Where you have been

creative writing reflective commentary example

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The Ultimate Guide to VCE Creative Writing

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What Is The Creative Response?
What Are You Expected To Cover? (Creative Writing Criteria)
Literary Elements (Characterisation, Themes, Language, Symbolism, Imagery)
LSG's unique REPLICATE and IMAGINE strategy
Sample A+ Creative Response
Writing The Written Explanation
Resources To Help You Prepare For Your Creative Response

1. What Is The Creative Response?

The Creative Response, which forms part of the ‘Reading and creating texts’ component of the study design, is part of the 1st Area of Study (AoS 1) - meaning that the majority of students will tackle the Creative Response in Term 1. Unlike the analytical text response, in the Creative Response you will be asked to write your own imaginative piece in response to a selected text.

You are expected to read and understand the selected text, analyse its key features, and write a creative piece which demonstrates your comprehension of the text.

2. What Are You Expected To Cover? (Creative Writing Criteria)

The creative writing task assesses your ability to combine features of an existing text with your own original ideas. The key intention here is to demonstrate your understanding of the world of the text. You can achieve this by exploring and applying selected elements from the text, such as context, themes, literary devices like symbols, and/or characters. You should also consider the values embedded within the text - this includes explicit values (which can be seen on the surface of the text) and implied values (values we uncover through analysis of the text’s deeper meaning). Try to reflect these values within your writing.

Your piece will be a creative response, after all, so you should apply the conventions of this style of writing. Firstly, your creative should follow the structure of a beginning, middle, and end. We can also think of this as rising tension, climax, and resolution. Secondly, you should develop an authentic use of language, voice and style to make your writing more engaging and sophisticated. Thirdly, you can use literary devices to build meaning and depth within your piece. As always, your writing should be consistent with the rules of spelling, punctuation, and syntax (that is, written expression) in Standard Australian English.

Part of this assessment is the Written Explanation, which is a chance for you to explain and justify your creative writing choices. Within the Written Explanation, you should reflect on your writing process and analyse your own work. The primary goal here is to explain the links you’ve made to the original text, by considering features like purpose, context, and language.

Ultimately, to put it simply, you are expected to understand the selected text and demonstrate this in your creative piece. If you're looking to quickly increase your creative skills, watch our incredibly popular video below:

3. Literary Elements (Characterisation, Themes, Language, Symbolism, Imagery)

Literary elements are different parts of the creative writing equation that ensure your piece is consistent with the expected features of this type of writing. When selecting which literary elements to include in your piece, remember to consider the original text and ensure that your work, while creative, also demonstrates your ability to replicate some of its elements.

Characterisation

As we know, characters are fictionalised people within the world of a creative text. Almost an entire century ago, the English writer E. M. Forster famously introduced the concept of flat and round characters in his 1927 book, ‘Aspects of the Novel’. According to Forster, flat characters can be defined by a single characteristic; in other words, they are two-dimensional. For example, the characters of The Simpsons could arguably all be defined as flat characters; Homer is characterised as a slob, Flanders is defined by his Christian faith, Lisa is stereotyped as the ‘teacher’s pet’, and Bart is portrayed as rebellious. We can define all of these characters as flat because they are labelled to the audience in these two-dimensional ways.

In contrast to this, round characters have multiple characteristics, which brings them closer to seeming like real, human figures. The personality of these characters extends beyond a single attribute. In Harry Potter , Harry himself is a round character because of how much we learn about him over the course of the series. For example, we find out about Harry’s difficult childhood, his personal challenges, his love interests, and we see his personality grow from book to book.

Whether the characters of your creative are flat or round will depend on their involvement within, and importance to, the storyline of your piece. Generally speaking, however, you should aim for the central character(s) to be round, while any minor characters are likely to be flat. Developing round major characters will ensure that they are realistic and believable. In turn, you’ll be able to better demonstrate your imaginative skills and understanding of the text through these characters.

Themes are the key ideas and issues that are relevant to the storyline of a fictional text. We can identify themes by labelling the main areas of meaning within a text and thinking about the messages that emerge throughout the text. To build your understanding of themes within a particular text and to evaluate the themes of your own creative, consider the following questions:

What is the text really about, beyond superficial elements like plot and character?
What is the text saying to its reader?
What are the core idea(s) or issue(s) within the text?
What idea(s) or issue(s) do the message(s) of the text correspond with?

To return to our example of The Simpsons , we could say that the themes within this sitcom include love and family, neighbourliness, and social class. From episode to episode, The Simpsons comments on these different issues. For example, Marge and Homer’s relationship, with its domestic setting and marital ups and downs, is a core aspect of the Simpsons household. Likewise, family is a major component of not only the Simpsons themselves, but also the broader Springfield community. The interactions between parents and children is evident on Evergreen Terrace with the Simpsons and the Flanders families, as well as in other settings such as Springfield Elementary School (where even an adult Principal Skinner is seen through his relationship with his elderly mother). These broad areas can be identified as the key thematic concerns of the series because each episode centres around these ideas.

Language refers to the way in which a piece of writing is expressed. We can define this as the ‘style’, or ‘tone’, of a text. The words and phrasing chosen by a writer determine how ideas are communicated. Effective language will be appropriate for the world of the text and contribute to the narrative in a meaningful way. There are a number of ways in which a piece of writing can be articulated and you should consider the nature of your piece and the language of the original text when deciding what type of language is most appropriate for your creative.

Dialogue, on the other hand, is an exchange of conversation between characters. Dialogue is often used to provide context to a text, develop its storyline, or offer direct insight into a character’s thoughts, feelings and personality. ‍

A symbol can be defined as a thing that represents something else. Symbols are typically material objects that hold abstract meaning. For example, in Harry Potter , Harry’s scar is a symbol of his difficult childhood. Because Harry’s scar causes him pain in Voldemort’s presence, it can also be said that the scar is symbolic of the connection forged between Harry and Voldemort when his attempt to kill Harry failed. As this example suggests, symbols are often associated with the text’s themes - in this case, Harry’s scar relates to the themes of childhood and death.

The key with symbolism is to connect a particular theme or idea to a physical object. For example, the theme of grief could be portrayed through a photo of someone who has died. Likewise, the theme of change might be represented by a ticking clock, while a character’s clothing could be a symbol of their wealth or status.

For more literary elements, also known as metalanguage, check out our lists:

Part 1 – Metalanguage Word Bank For Books

Part 2 – Metalanguage Word Bank For Films With Examples

And if that's not enough, you'll also want to check out our How To Write A Killer Creative Study Guide where we unpack these elements in more detail AND analyse imagery, foreshadowing, flash-backs and flash-forwards!

4. LSG's unique REPLICATE and IMAGINE Strategy

If we think about the criteria of creative writing, we’ll see that much of this task involves demonstrating your understanding of the text. For this reason, being able to replicate the world of the text will enable you to showcase your understanding and, in turn, to meet the criteria your teacher will be looking for. Let’s consider how you can strengthen your creative by taking the time to understand the text on a meaningful level and reflect this within your writing.

Step 1: Read

Writing a strong creative piece begins with reading. Reading the text (or watching, in the case of a film) is essential to developing an informed creative response. The more closely you read, the more confidently you’ll be able to engage with the important ideas and textual elements necessary to take your creative from good to great.

While reading the text for the first time, focus on developing your understanding and clarifying any uncertainty. I would recommend taking the time to read a plot summary before beginning on the text - this will allow you to go in with a reasonable idea of what to expect, and also provide a security net to minimise your likelihood of misunderstanding the plot.

While reading the text once is sufficient, you will benefit from reading it twice. A second reading enables you to take the time to annotate key sections of the text and to further your initial understanding. If you choose to read the text a second time, pay extra attention to the themes and inner-workings of the text. This means reading between the lines and starting to form an analytical understanding of what the text is about, beyond surface ideas like plot and character.

Annotating the text (or note-taking, in the case of a film) is an important aspect of any academic reading. The key intention is to ensure your annotation approach is as convenient and accessible as possible. To achieve this, I suggest listing the key themes, allocating a different coloured highlighter to each, and colour-coding sections of the text which you think relate to each specific theme. This will give your annotating process more direction compared to the common approach of simply leaving notes in the margin, which may be time-consuming to read over later.

I would also recommend making the most of coloured tabs - these enable you to immediately see the key sections of the text, rather than flicking through aimlessly. If you can colour-code these tabs according to the same key as your highlighters, you’ll be able to instantly spot which sections correspond with which theme (and trust me, this will come in handy if you decide to replicate these themes in your own creative).

Aside from annotating the text itself, try to ensure that the notes you write are concise - not only will this save you time, but it’ll mean you focus on condensing the key information. In turn, you’ll have less material to sift through later on, giving you the ability to jump straight into planning and drafting your own piece. This video, How to effectively annotate your books for school! and this blog post, How to effectively annotate your texts in VCE will provide you with more helpful strategies to get the most out of annotating. ‍

Step 2: Understand the World of the Text

‍ Regardless of how many times you read the text, your understanding will be strengthened by seeking out resources to help you think about the text on a deeper level. A good starting point for this is to have a look for LSG blog posts and videos that are about your specific text.

Watching or reading interviews with the author of the text is a fantastic way to hear directly about their intention in writing the text - after all, they are the single most authoritative source on the text. The goal here is to understand the author’s intent (something we’ll expand on in Chapter 8: Strengthening Your Creative ) so that you can reflect this within your own writing. Focus on how the author explains certain aspects of their text, as well as any points they make about its context and background.

Additionally, peer discussions and asking questions in class will help you to further develop your understanding of the text and clarify any uncertainty. Seeing the text from another’s perspective will develop your knowledge beyond a superficial understanding of the text and introduce ideas you may not have otherwise considered.

Remember to take notes as you go - these will be useful to reflect on later. ‍

Step 3: Implement Your Understanding ‍

Okay, so you’ve taken the time to read and annotate the text, and you’ve sought out external resources to further develop your comprehension. Now we want to apply this understanding within a creative context. Reflect on what you know about the text. Think closely: What have you learnt about its context, characters, and themes? What elements of the text stand out? The goal here is to draw inspiration from the text and begin to think about which aspects of the text you might like to replicate within your creative piece. Begin to put together a shortlist to keep track of your ideas. The aim here is to develop a picture of the parts of the text you might decide to replicate in your own writing.

Although understanding and replicating the text is important, if we were to only do this, your piece wouldn’t have much creative flair or originality. Here, we’ve taught you the ‘ Replicate ’ component of this strategy . If you’d like additional information about how to elevate this to an A+ standard AND a comprehensive explanation of the ‘ Imagine ’ component, check out our How to Write A Killer Creative study guide ! ‍

5. Sample A+ Creative Response

Here's a sample excerpt from a creative piece written by Taylah Russell, LSG tutor and 47 study scorer, in response to the short story 'Waiting' in Cate Kennedy's anthology, Like a House on Fire :

"The clinician presses forcefully into my lower abdomen, refusing to stop and accept my reality. The poor thing, deprived of such hopelessness as I, seems to honestly believe that the longer he agonises over finding something, the more likely it is that some form of life will appear. That those horoscopes in those grimy magazines, written by journalists who’ve probably been fired from their former reputable jobs, may actually hold some validity. I place my hands over my eyes, tentatively pressing against my eyelids, turning my surroundings a dark black and blocking the stream of water that has readied itself to spill when the time comes, when that young boy finally gives up and realises that his degree holds no value in providing me with happiness."

As we can see in this paragraph, the writer is replicating certain themes from the original text, such as grief. Additionally, this piece is written from the perspective of the original protagonist, which means that its characters and context are also directly inspired by Kennedy. Ultimately, by carrying across these text elements of theme, character, and context, the writer is able to clearly demonstrate an extensive knowledge of the text , while also showcasing their creativity. To see more of this creative piece as well as another A+ example, check out the How to Write A Killer Creative study guide !

6. Writing The Written Explanation ‍

For a detailed overview of the Written Explanation, check out our Written Explanation Explained blog post. ‍

7. Resources To Help You Prepare For Your Creative Response

Youtube videos ‍.

We create general creative writing videos where I explain the method behind this task: ‍

We also create videos that outline ways you can set yourself apart in this assessment:

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

Blog Posts ‍

Our awesome team of English high-achievers have written a number of blog posts about creative writing to help you elevate the standard of your work! ‍

5-Step Recipe for Creative Writing ‍

How to achieve A+ in creative writing (Reading and Creating) ‍

"Creative Response to Text" Ideas ‍

Written Explanation - Explained ‍

Reading My 10/10 Marked CREATIVE GAT essay ‍

VCE Creative Response to Runaway by Alice Munro

VCE English Unit 3, Areas of Study 2: Creating Texts - What Is It?

VCE Creative Writing: How To Structure Your Story

Study guide ‍.

And if that isn't enough, I'd highly recommend our How To Write A Killer Creative study guide .

In this study guide, we teach you the unique REPLICATE and IMAGINE strategy, a straightforward and methodical approach to creative writing. The study guide also covers our step-by-step method to guide you through every phase of creative writing (no more not knowing where to start!) AND includes excerpts from multiple A+ creative pieces. Find out more and download a free preview here .

Get our FREE VCE English Text Response mini-guide

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

Access a FREE sample of our How To Write A Killer Creative study guide

Learn how to apply key creative frameworks and literary elements to elevate your writing
Introduces the REPLICATE and IMAGINE strategy , a straightforward and methodical approach to creative writing
Includes a step-by-step method to guide you through every phase of creative writing
Explains the Written Explanation component, with multiple annotated A+ examples
Includes excerpts from multiple A+ creative pieces

For a deep dive into the Creative and what it entails, check out our blog post: VCE English Unit 3, Area Of Study 2: Creating Texts - What Is It?

Leo Tolstoy wrote his magnum opus, War and Peace , over the span of six years. It took Harper Lee two and a half years to write To Kill A Mockingbird . Anthony Doerr’s All the Light We Cannot See took ten years to complete.

The incredibly intricate and complex nature of stories means that it often takes time to fit all the elements in harmony. But for those of you studying VCE English Units 1 and 3 , you don’t have the luxury of two or six, let alone ten years to write your Creative. The time constraints you face can mean that it’s harder to put the metaphorical puzzle pieces together.

Luckily, we can simplify the process for you by breaking down what makes a good story (using Cinderella to demonstrate).

The Skeleton of a Good Story (With Steps!)

In primary school, we were all taught the “beginning-middle-end“ approach to stories. Aside from being kind of vague, this overused approach doesn’t ensure a clear transformation between the “beginning” and the “end“. If nothing changes between the beginning and the end of your story, you have no story.

The skeleton approach is an effective alternative to other forms of story writing because it guarantees that your character has fundamentally changed by the end. Think of the following as criteria when you write your Creative - if you have (even slightly) addressed all of the following aspects, you can be sure you’ve written a story worth telling (and a Creative that’s going to score highly).

1) The Status Quo

Most stories feature a main protagonist, and your Creative piece should too! This is the main character who is in a zone of comfort/familiarity with some obvious shortcoming. This shortcoming can be a character flaw or something in the setting. This is Cinderella: she is used to her ordinary life in her small house, with her shortcoming being that she’s a servant to her evil stepsisters.

2) The Want

Additionally, your character has to want something (or at least, think that they want that thing). Since your time is limited, keep the desire simple. For instance, Cinderella’s main desire is to escape her life of servitude and be supported.

3) The New Situation

After you have established the character’s “want”, your character has to enter an unfamiliar situation that addresses their shortcoming. Continuing the example of Cinderella, this unfamiliar situation is the royal ball, which offers her the chance to marry the prince and live with him instead.

4) The Plan

After the new situation is presented, the character must carry out a plan to get what they want, be it explicitly or subconsciously. This plan can either succeed or fail in getting them what they want. Cinderella plans to present herself as a viable option for the prince by ensuring she is well-groomed and presentable - a plan she fulfils.

However, the character must pay a very heavy price for it - mentally, physically or emotionally. This is the climax of the story, where the character is challenged and maybe even forced to change. For Cinderella, the clock striking midnight signals a limit on the amount of time she can maintain the princess persona and interact with the prince.

5) The “Eureka” Moment

This part of the story is potentially the most vital: when the character is forced to look within and reflect on who they are, what they actually need and want, and who they must be to achieve these things. Cinderella's initial reluctance to claim ownership of the shoe suggests her acceptance of a life of servitude, implying that she views the "aristocratic dream" as unachievable.

6) The Resolution

Finally, the character either returns to their familiar situation or a new situation is born. In Cinderella , a new situation arises when Cinderella marries the prince and escapes her previous life. This is when the situation has been “resolved ”, not “ended”.

Experiment!

The other benefit of the skeleton approach is that you have the room to experiment with your Creative piece. For instance, you can do an allegorical text (like Animal Farm ) or maybe even a cyclical structure ( Gone Girl , film). Your Creative piece is inspired by your experiences and no one else’s so have fun with your creative control!

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If you're not entirely sure what the GAT is, head on over to this blog to find out more about it and why it's important!

‍ [Modified Video Transcription]

What's up?! I got 10/10 on my GAT, so I'm going to tell you how I got perfect marks in Task One of the GAT . I'm also going to share with you my essay so that you know exactly what you need to do when it comes to doing your GAT.

Why Do I Need To Do Well in the GAT?

Here's a bit of information you need to know going into Task One , which is basically a Creative piece . Now, I've done a GAT video in the past, which I highly recommend you go and watch, because in that video I teach you essentially what you should be doing for the writing tasks and how you should organise your time in order for you to get the best possible marks in the GAT. No, you don't have to study for the GAT, but if you can do well in it, then you might as well because...you don't know….COVID might come back, you might need a derived score...you know what I mean? You just don't know what's going to happen so you might as well try to do your best and if this video helps you out with that, if you're willing to spend a few minutes doing it and yet bump up your marks heaps, it's definitely going to be worth it for you!

GAT Advice From a VCAA Examiner

I learned all of my skills from my tutor at the time, who was a VCAA examiner, so this information comes directly to you from an examiner, so, you know, it's legit!

A lot of people get really confused when it comes to Task One because they think that it's just a whole bunch of information that's put in front of them and what they're supposed to do is just regurgitate the information that's there and package it into an essay somehow. But, as I've talked about in my previous video , the way that you do this is to write a Creative piece using the information that's in front of you - just trust me on this.

Approaching the GAT Creatively

I know there's a lot of talk back and forth out there about how you should be doing Task One , but you can see ( in the comment section of my other video ) people who followed through with this Creative method and have done really well. Another reason I like this Creative approach is because it makes things easier for you. In the instructions, it says:

'Develop a piece of writing, presenting the main information in the material. You should not present an argument.’

So really what's left is (if it's not going to be persuasive) it either has to be an Expository, which is just like a normal Text Response essay, or it can be a Creative. A normal Text Response essay is going to be so boring for everyone out there - do a Creative instead! Why?! Because:

‘Your piece will be judged on:

how well you organise and present your understanding of the material.
your ability to communicate the information effectively’

So, what this means is if you're going to do a Text Response version of the information that's in front of you, the only way you can really do that is by regurgitating and just wrapping up similar pieces of information in one paragraph together. I don't know how you would do an Expository well, but if you take a Creative approach, it not only tests your organisational skills but also tests your understanding of the material as well.

What I mean by Creative piece is you can write a letter to the editor, you can write a diary entry, you can write an advertisement, you can write a brochure. There are just so many different types of Creative pieces you could use - the world is your oyster essentially. I'm going to talk you through how I did it for my particular GAT.

How a Creative Approach Got Me a 10/10 in My Trial GAT

This one here is actually a trial GAT. We had an examiner come in and grade our marks for us so it's not my actual GAT, which I don't think you can get back, but it's the closest thing to it, so, we'll work with that.

We did a really old GAT. This is the 2004 (which is ages ago) General Achievement Test. Some of you might've been born around this time! That is nuts!! Anyway, the GAT has not changed over the past 10 or so years, or the past 20 years even, so don't feel like this is information that's not going to be helpful, because every single year it's the same type of instructions with a similar type of information that's given.

Here you can see that I've got an island and there are just bits of information. There's a legend, there's a scale, there are facilities, there is a temperature and a bird's eye view of the island itself.

Reading My Marked CREATIVE GAT Essay Part 1 Map

If you look at this, how are you going to write a Text Response on this? It's going to be boring. So instead, what I did was I said:

'Dear Diary: We arrived in Amaroo Island this afternoon and the view of this place from the plane was amazing!'

When I was in the GAT itself, I would cross out the section (in this case the photo of the island) that I had covered just to see how much information I was able to pack into my piece and know that I wouldn't need to touch it again.

'Magnificent blue water sea, sandy white coast and huge amounts of great green trees! From the airport, we travelled by bus to our hotel where we will be staying for two nights. On the way, we stopped at a historical ruins site. One of the tour guides whom we bumped into told us the ruins have been found to be from 1854! We stayed there for an hour, then caught the bus back again to our hotel. We were extremely excited to explore the hotel and its surroundings, so Dad, Mum, George and I quickly unpacked our luggage and changed for the night. We decided to have dinner at a restaurant which turned out to serve delicious food. After dinner, we explored a shopping centre, galleries and even a museum which is called ‘Maritime Museum’. So many facilities in just one place! That took most of the night and we were all tired from a long day. Tomorrow we will be going swimming and camping outdoors for the night. I'm excited!'

You can see just in this one paragraph I've tried to pack in as much information as I can, but in a way that makes it interesting and fun. You'll notice that with my vocabulary it's not like I am this 50 study score achiever who’s writing exceptionally beautiful language and, I don't know, making this GAT piece something that it's not. I'm just giving them information, having fun with it, making it creative and as a result, I did well!

Alright, let's keep going.

'Dear Diary: Our second day began with the sunshine pouring into our rooms.'

That's just a nod to the temperature. It's not an explicit nod, it's more of an indirect nod.

‘George and I were very eager to go swimming and were pleased to find that the weather for the day was 28°C!'

There's the explicit inclusion of the information.

'I'm glad we came here in January rather than July when we were initially planning to holiday.'

Adding more information without just forcing it down the examiner’s throat.

'Our travel guide booklet states that it’s only a maximum temperature of 15°C! degrees in July! We wouldn't have gone swimming then, that's for sure. Mum and Dad decided that even though there was a safe swimming area near Gali in Gali Bay, we should go to Dolphin Bay and then to Marlin Bay to stay for the night.'

Here I'm just including Gali Bay because I wanted to, but I wanted to also talk about the other bays as well. I'm just trying to be creative in how to include this information. It's all embedded within my storyline so it doesn't feel like I'm spoon feeding my examiner piece after piece of information.

'We caught the bus again to Dolphin Bay and there were many families as there was a caravan park situated right by the bay! How convenient is that! When we were swimming, we could even see the Cape Dolphin lighthouse in the distance. Afterwards, we travelled to Marlin Bay via bus. Marlin Bay is right next to Amaroo National Park, and we've seen some kangaroos and koalas amidst the trees but we're not allowed into the park as it's a marine reserve boundary. Tomorrow we're heading back to Gali Hotel, playing some golf and going riding along the coast!'

I'm pretty much almost done! You see that my essay wasn't actually that long. It was only a page and a half (of handwriting), and yet I still got 10/10. I think it just goes to show how many people out there just don't know how to do a GAT, so you only need to do a fraction better in order for you to do exceptionally well in your GAT scores. To finish off my story:

'Dear Diary: Our final day at Amaroo! We woke up early, had breakfast which Mum cooked up and then headed back home.'

Here I'm also adding in pieces of information that aren't necessarily on the page that's been given to us. I just thought it'd be a nice touch to say this, you know, we woke up early, we had breakfast which Mum made - it just adds to the storytelling.

'We didn't do much during that morning, just had lunch at the Gali restaurant. Afterwards, however, we did lots! We hired bikes from the shopping centre and rode along Gali Bay to Moonlight Bay. It was tiring but the scenery was amazing! We spent most of the afternoon riding but got back to Gali at 4 o'clock and Dad headed out for some golf. George and I decided not to because we were drained from all our exercise already. This is our last night in Gali, I'll be sad to leave Amaroo Island.'

That's it! If you guys want to see how I got 10/10 in my second task. Make sure you leave a comment for me over on Youtube, like the video and I'll get another video/blog out for you guys. Thanks so much for watching (or reading) and I wish you guys all the best for the GAT.

The Full Essay ‍

Dear Diary:

We arrived in Amaroo Island this afternoon and the view of this place from the plane was amazing! Magnificent blue water sea, sandy white coast and huge amounts of great green trees! From the airport, we travelled by bus to our hotel where we will be staying for two nights. On the way, we stopped at a historical ruins site. One of the tour guides whom we bumped into told us the ruins have been found to be from 1854! We stayed there for an hour, then caught the bus back again to our hotel. We were extremely excited to explore the hotel and its surroundings, so Dad, Mum, George and I quickly unpacked our luggage and changed for the night. We decided to have dinner at a restaurant which turned out to serve delicious food. After dinner, we explored a shopping centre, galleries and even a museum which is called ‘Maritime Museum’. So many facilities in just one place! That took most of the night and we were all tired from a long day. Tomorrow we will be going swimming and camping outdoors for the night. I'm excited!

Our second day began with the sunshine pouring into our rooms. George and I were very eager to go swimming and were pleased to find that the weather for the day was 28°C! I'm glad we came here in January rather than July when we were initially planning to holiday. Our travel guide booklet states that it’s only a maximum temperature of 15°C! degrees in July! We wouldn't have gone swimming then, that's for sure. Mum and Dad decided that even though there was a safe swimming area near Gali in Gali Bay, we should go to Dolphin Bay and then to Marlin Bay to stay for the night. We caught the bus again to Dolphin Bay and there were many families as there was a caravan park situated right by the bay! How convenient is that! When we were swimming, we could even see the Cape Dolphin lighthouse in the distance. Afterwards, we travelled to Marlin Bay via bus. Marlin Bay is right next to Amaroo National Park, and we've seen some kangaroos and koalas amidst the trees but we're not allowed into the park as it's a marine reserve boundary. Tomorrow we're heading back to Gali Hotel, playing some golf and going riding along the coast!

Our final day at Amaroo! We woke up early, had breakfast which Mum cooked up and then headed back home. We didn't do much during that morning, just had lunch at the Gali restaurant. Afterwards, however, we did lots! We hired bikes from the shopping centre and rode along Gali Bay to Moonlight Bay. It was tiring but the scenery was amazing! We spent most of the afternoon riding but got back to Gali at 4 o'clock and Dad headed out for some golf. George and I decided not to because we were drained from all our exercise already. This is our last night in Gali, I'll be sad to leave Amaroo Island.

If you'd like more help, check out Why the GAT Matters and How To Use It To Your Advantage . It walks you though what's involved, why the GAT matters, the different tasks you'll need to complete and more!

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

The biggest challenge of the creative writing SAC in VCE is figuring out how to balance your own ideas and style with that of the text you’re studying. The assessment requires you to incorporate elements of a text into your writing without copying the original narrative. In this case, Runaway by Alice Munro (2004) is a short story collection that explores themes of marriage, loss, mother/daughter relationships, womanhood and more. To be able to emulate Munro’s writing style within your original piece, it’s important to analyse the most frequent devices she incorporates into her work. By focusing specifically on the three stories ‘Chance’, ‘Soon’ and ‘Silence’, we can understand how Munro writes and how to embed that into a Creative Response.

If you would like more information on the themes in Runaway , you can refer to this blog post.

Literary Devices

Literary devices can be defined as the techniques that an author uses in writing to convey meaning and their ideas within their work. These devices construct the story and emphasise key themes , which are particularly important to note when studying a text in VCE English. There are many devices that you may already be familiar with - metaphors, similes and repetition are commonly used in a variety of types of writing. For example, repetition of a certain word or phrase within a text highlights that it has significance and is reinforcing a particular idea or theme. By identifying which literary devices an author prefers to include in their novel, you can gain an understanding of their style and have a practical method for emulating it within a Creative Response. Below is a breakdown of some of the techniques woven by Munro throughout ‘Chance’, ‘Soon’ and ‘Silence.’

Embedded Narrative

An embedded narrative is like a story within a story, often with the intention of lending symbolic significance to the narrative. In ‘Chance’, Munro includes many references to Greek mythology, embedding a story within the broader narrative. The myths she has chosen are similar to events in Juliet’s life, creating an intentional comparison.

For instance, Juliet’s affection for Eric prompts her to visit his home where she meets Christa and Ailo, two women Eric has had a relationship with. Upon meeting them, Juliet is reminded of ‘Briseis and Chryseis’, who were ‘playmates’ of a Greek king. Munro’s use of this embedded narrative within Juliet’s story reveals how Juliet feels jealous of the two women and sees them as incapable of having a serious relationship with Eric. To echo this in a Creative Response, you might want to include either a myth, folktale or historical event that relates to your narrative and the characters within it.

Time Progression/Regression

Time progression/regression refers to jumping back and forwards in time within a story to give context to certain characters or events. For example, the narrative moves back and forth in ‘Silence’ to slowly reveal the before and after of Juliet and Penelope’s estrangement. This helps to inform the reader of Penelope’s motives for no longer speaking to Juliet, and how Juliet deals with the pain of losing a relationship with her daughter. Any movement through time is typically shown through section breaks in the writing, as it alerts the reader that one scene has ended and a new one has begun. These moments might interrupt the chronological narrative, or you might choose to jump backwards and forwards consistently, although this can make your piece more complicated.

Epistolary Elements

‘Epistolary’ is defined as literary work ‘in the form of letters’. Munro weaves elements of this within Runaway, including letters within several of the stories. The letters help to convey the narrative through one character’s perspective, providing insight into their motivations and perspectives. This is particularly effective when the story is written in the third person, as a letter is usually in the first person, allowing for characters to be understood on a deeper level.

In ‘Soon’, Juliet’s letter to Eric demonstrates their intimacy as a couple. Munro has constructed the letter so that it contains very mundane details about Juliet’s time with Sara, instead of just the exciting or alarming news she might have to share. The personal nature of the letter conveys just how close Eric and Juliet are, and how different her relationship with him is from that with Sara. Epistolary elements can be easily included as a small section of a Creative Response as correspondence between two of your characters.

Finally, Munro often uses italics to emphasise certain words or phrases that are particularly important. Italics can also convey the tone of a character, as they might draw attention to some words spoken in excitement or anger. For example, when Juliet meets Joan at the church in ‘Silence’, Joan’s dialogue often has italics to highlight when she is making passive-aggressive remarks about Juliet’s relationship with Penelope. Munro is demonstrating that Joan has been influenced by Penelope in her opinion of Juliet, as she clearly dislikes her and speaks in a condescending manner towards her. You might decide to implement italics only in dialogue, or to use it in other parts of your response, to highlight an important moment within the plot.

Tips for Emulating Munro’s Style

While emulating the style of an author is an important component of a Creative Response, coming up with your own ideas is equally important! To find an idea that you are invested in, think about the parts of Runaway that really spoke to you and that you would like to explore more; this could be a broad theme or a specific character. It is easier to write about something you are interested in than something you feel obligated to write about. Come up with potential responses that you are excited to write, and then plan accordingly by asking “How can I incorporate parts of Munro’s style into this piece?”

To plan out your piece, start by creating a simple plot structure to guide your writing. If it helps, this can include a 3-act structure consisting of a set-up, conflict, and resolution; or you might prefer to do a simple dot point plan instead. When considering what literary devices you would like to include, pick at least one literary technique, and work on making it fit with your idea. Focus on incorporating that one as best as you can before you move on to another one. You might want to pick a second technique that is more subtle, like italics, and start applying that in your second or third draft.

What is a Written Explanation?
Creative Response-Based Written Explanations
Oral Presentation-Based Written Explanations

1. What is a Written Explanation?

Written Explanation (also known as Statement of Intention, SOE, and various other names throughout different schools) is a short introductory piece to your essay. The Written Explanation is intended to explore the reasons behind why you made particular writing decisions. This is done via FLAPC:

F orm, L anguage, A udience, P urpose, C ontext

2. Creative Response-Based Written Explanations

The following is taken from the VCAA study design for Creative Response-Based Written Explanations:

'a written explanation of creative decisions and how these demonstrate understanding of the text.'

Most assessors are quite lenient with how you want to approach the Written Explanation – there is no rigid structure that you need to abide by. As we will discuss below, this allows you to consider which aspects of form, language, audience, purpose and context you wish to include. Each of the points should establish why you have written your piece. They are considered as part of your SAC and thus, are marked accordingly. They are not examinable during the English exam.

There are traditionally three forms of writing accepted in assessments: expository, creative or persuasive essay.

‘I chose to write in an expository style, employing conventions of format and style of a traditional essay. This allows me to express my ideas in a logical order while adopting a sophisticated tone.’

When writing, you choose particular words and phrases to illustrate your ideas. Think about what type of language have you used and why. Perhaps your piece is formal or informal, sophisticated or simple, or from a first or third person perspective. All these factors are important in shaping your Context piece. Also consider language techniques you may have incorporated such as repetition, rhetorical questions, metaphors, symbolism and more.

‘I have chosen to write from a first person perspective to shed light on the inner workings of Gardiner from The Lieutenant .'

You must select a targeted audience for your essay. Your choice can be adults to young children, or even to your future self. Make sure your target audience is suitable for your essay – select a group that would realistically be interested in your work.

‘My piece is to be published in an anthology for those who have had difficulty assimilating into a new group or culture. As they have familiarity with the concepts I discuss, I intend for readers to depart with a greater understanding and appreciation of the ideas in my written piece.’

The purpose section is where you discuss the message you would like to send to your audience. Here you discuss your contention or arguments; whether you completely agree, disagree or a bit of both in regards to your prompt.

‘The purpose of this essay is to demonstrate that there can be different outcomes from encountering conflict: firstly, that conflicts can change many people through growth in understanding or a sense of self-development and secondly, that there are times when people remain unaffected by conflict and thus, unchanged.’

Since your essay is based on your studied text, you should provide a brief discussion of the basic ideas behind the Context . You can do this prior to your Purpose section since it is a good lead-in.

‘In this essay, I explored the idea that ‘Conflict inevitably changes people’; a concept heavily explored in The Lieutenant . Every person encounters conflict. It drives individuals to challenge themselves, and deal with new experiences.'

Different schools will set different word limits for Written Explanations. These can range from 300 – 350 words based on the VCAA study design. With such a small word limit, be succinct and choose wisely what you will discuss in order to score the maximum marks allocated to Written Explanations.

3. Oral Presentation-Based Written Explanations

The VCAA study design requests students write:

'a written statement of intention to accompany the student’s own oral presentation, articulating the intention of decisions made in the planning process, and how these demonstrate understanding of argument and persuasive language.'

Using the topic, 'Why we need to stop crying "cultural appropriation" when cultural exchange is far more important ', let's see how this can be done with FLAPC with some examples below (if you need help selecting a topic, check out our 2020 Oral Presentation topics to get those brain juices flowing ):

‘I chose to adopt the conventions of a persuasive speech, where I use a structure of presenting my main ideas by rebutting arguments made by the opposition. Throughout my speech, I embed persuasive tactics in an effort to firstly, encourage engagement from the audience and secondly, sway them to readily accept my point of view.

‘Since I am an Asian-Australian, I have purposefully forgone the opportunity to adopt a persona and instead, have chosen to write from a first person perspective as I can uniquely shed light on my own experiences towards cultural exchange and how that has directly impacted me. My speech heavily focuses on delivering tangible examples, such as anecdotes and social media usage, as I aim to heighten the topic’s relevancy and relatability for my audience. Moreover, as my focus is to reinforce positive attitudes towards cultural exchange, I have adopted a light-hearted approach with humour through the first portion of my speech, then moving into an urgent tone towards the end to highlight the importance of this issue.'

'I have opted to target young Australian adults since we are the generation of the future, and have a major role to play in positively shaping the Australian society’s views and attitudes towards cultural exchange.

'I aim to convince my audience that it is too easy to cry 'cultural appropriation' by being overly sensitive, and instead, we need to consider the benefits of cultural exchange. Cultural exchange itself, has shaped the world as we know it today – it has an important role in globalisation, understanding foreign cultures and the development of Australian society.'

'Australia is known to be one of the most multicultural countries in the world. However, recent media has drawn attention to cries of 'cultural appropriation' towards Indigenous Australians and other cultures, claiming that we fail to appreciate and respect cultural values when we take others' culture for our own (whether it be fashion, music, food or otherwise).'

‍ Sample FLAPC compiled and rearranged for flow and fluency:

Australia is known to be one of the most multicultural countries in the world. However, recent media has drawn attention to cries of 'cultural appropriation' towards Indigenous Australians and other cultures, claiming that we fail to appreciate and respect cultural values when we take others' culture for our own (whether it be fashion, music, food or otherwise). I aim to convince my audience that it is too easy to cry 'cultural appropriation' by being overly sensitive, and instead, we need to consider the benefits of cultural exchange. Cultural exchange itself, has shaped the world as we know it today – it has an important role in globalisation, understanding foreign cultures and the development of Australian society. I chose to adopt the conventions of a persuasive speech, where I use a structure of presenting my main ideas by rebutting arguments made by the opposition. Throughout my speech, I embed persuasive tactics in an effort to firstly, encourage engagement from the audience and secondly, sway them to readily accept my point of view. Since I am an Asian-Australian, I have purposefully forgone the opportunity to adopt a persona and instead, have chosen to write from a first person perspective as I can uniquely shed light on my own experiences towards cultural exchange and how that has directly impacted me. This also has an additional persuasive effect as I invite my audience to relate to my opinions through their own similar experiences as young Australian adults. I have opted to target this audience since we are the generation of the future, and have a major role to play in positively shaping the Australian society’s views and attitudes towards cultural exchange. My speech heavily focuses on delivering tangible examples, such as anecdotes and social media usage, as I aim to heighten the topic’s relevance and relatability for my audience. Moreover, as my focus is to reinforce positive attitudes towards cultural exchange, I have adopted a light-hearted approach with humour through the first portion of my speech, then moving into an urgent tone towards the end to highlight the importance of this issue.

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Need more help with your Creative Response? Check out How To Achieve A+ in Creative Writing (Reading and Creating)!

See how Lisa achieved full marks in her SAC in her Advice for A+ Oral Presentations guide.

We’ve explored creative writing criteria, literary elements and how to replicate the text over on our The Ultimate Guide to VCE Creative Writing blog post . If you need a quick refresher or you’re new to creative writing, I highly recommend checking it out!

There are two types of people in this world… those who love creative writing, and those who don’t. But no matter which one you are, never fear, your saviour is here (in the form of this simple guide to writing creatively – whether it’s for school, for a writing competition or just for fun)!

What Are the Five Steps?

Do a brain dump of your ideas!
Stay true to yourself
Start small - keep it simple
Don't be afraid to add "spice"
Read your writing out loud

STEP 1: Do a brain dump of your ideas!

You’ll often find that your brain is buzzing with possible storylines or scenarios; you’ll feel so overwhelmed trying to pick just one! Or maybe, you’re experiencing “writer’s block”, a mind blank. My tip for this is to set a five-minute timer, get a blank sheet of paper and scribble down everything that comes to your mind! You’ll be surprised at how imaginative your mind can be under pressure! When the timer goes off, take a break and then read through each idea individually before choosing one to develop. This way you’ll be able to clearly see all your thoughts, and maybe even be able to link multiple ideas into a more detailed story !

STEP 2: Stay true to yourself

Creative writing is so different to other text types because it gives you the freedom to choose what you're writing about, and how you're going to do it! So, take advantage of this and write from the heart – don’t try to be someone you’re not. Let your personality shine through your writing. It's usually the stories that have some kind of personal backstory, or are based on a real-life experience that are the most enjoyable to read!

STEP 3: Start small - keep it simple

No one expects you to write a New York Times best seller novel in your first attempt! Even the most talented authors began with a dot point plan or a simple paragraph based on their idea. From my experience, the absolute hardest thing to do is actually get started. Keeping it simple and focusing on getting your ideas down on the page is the easiest way to overcome this hurdle. You can worry about the language and descriptions later, once you have a basic first draft, editing and developing is so much easier!

Want to also know the 11 mistakes high school students tend to make in creative writing? Check out this

STEP 4: Don't be afraid to add "spice"

Now it's time for my favourite part; adding the flavour! This is what will make your writing stand out from the crowd! Take some risks , don’t be afraid to rewrite parts of your piece or use language techniques that are out of your comfort zone!

Here are a few of my favourite features to use when creative writing:

Flashbacks / Foreshadowing (these are good tools to subtly suggest a character’s backstory and add some mystery – especially if you use third-person language to make it more cryptic)

E.g. As he entered the quadrangle for the first time since the accident, a wave of nostalgia hit Jack… The boy chuckled as the girl ran across the quadrangle to meet him, her cheeks rosy from the frosty air. The pale orange sky was transforming into a deep violet and the new-formed shadows cast dancing silhouettes on the young couple. The boy took the girl’s hand, making a silent promise to himself to protect her smile forever. A promise he would fail to keep…

Personification (giving inanimate objects some life to spice up your descriptions!)

E.g. Her favourite oak tree stood proudly in the middle of the park, arms outstretched, waving to those that passed by.

Oxymoron (contradictory words or groups of words)

E.g. Deafening silence, blinding darkness, cold fire

If you want to enhance your language or use different adjectives to what you normally use, https://www.thesaurus.com/ is your best friend! 😉

If you're stuck on how to develop your descriptions and make them more vivid, I suggest relating back to the five senses . Ask yourself, what can the character see? What can they smell? What does the setting they're in sound like?

E.g. He was paralysed in front of the caskets… the cotton wrapped, caterpillar-like bodies, the oppressive silence of the parlour made him feel sick. And the overpowering stench of disinfectant mixed with already-wilting flowers certainly didn’t help.

STEP 5: Read your writing out loud

It can be awkward at first, but have some fun with it! Put on an accent, pretend you're a narrator, and read your writing. It really helps you to gauge the flow of the piece , and also identify things you might need to change. Or even better, read your writing to a friend or family member - ask them how they feel and what their initial thoughts are after hearing your piece .

Either way, reflection is one of the best ways to improve your writing and get it to the next level.

That’s all there is to it folks! Follow this simple recipe and you’ll be cooking up a creative-writing storm! Good luck! 😊

Want more tips on how you can achieve an A+ in creative writing? Read this blog post.

Whenever you write anything, whether it be a creative piece, a text essay or a literature discussion, keep these four words in mind:

Simple language, complex ideas.

It seems a basic concept, and at the heart of it, it is! But these four words hold the key to unlocking your English potential.

To write at your own personal best, you need to utilise the language that you are familiar with. This way, you won’t confuse yourself, and as an extension, the marker too!

Writing clearly and precisely is a skill that all academics can improve on, so how do we outdo ourselves? It’s really quite simple.

Whenever you write, choose words familiar to you. Searching for longer and more complex words can be dangerous. Rather for the simple word, the word that can be universally understood. When you truly understand the language you use, you then have the power to explore your arguments with far more efficiency.

Of course, with progression of writing comes an increase of sophistication, but do not let this be your goal. Rather, aim to allow your vocabulary to increase organically, looking up definitions when and where you need to. Expression is a facet of writing that every person can improve on, so why overcomplicate your task?

Next time you write anything, consciously focus upon how you express your argument, point of view or analysis. Often, you will find, the simplest word can be the most effective!

So, what about the complex part? This too will grow organically. Find a concept, idea or theme that you understand, and simplify it through the best language you can think of. This way, you ensure that nothing becomes lost in translation, and you demonstrate clearly to the marker that you understand the core of your topic. Next, find another idea, this time of a greater complexity. Break it down and put it into your own words. Over time, you will not only build a concise and accurate writing style, but you will also learn your arguments intimately. You can never go wrong!

This blog was updated on 28/10/2021.

Essay Topic Breakdown

Sample Essay Topics
Useful Resources

Themes (Similarities and Differences)

[Video Transcription]

We’ll be applying the CONVERGENT and DIVERGENT strategy from LSG’s How To Write A Killer Comparative and at how ideas are developed in similar or different thematic directions in these texts. CONVERGENT ideas lead to similar conclusions and messages, while DIVERGENT ideas take us to different conclusions. If you’d like to learn more about this strategy which can help you build more insightful discussions of the text by finding unique points of comparison, then I’d recommend you check out the LSG’s How To Write A Killer Comparative study guide. In the meantime, let’s start with some CONVERGENT ideas.

Power, Race and Oppression

In both texts, we see racial systems that take power away from Bla(c)k people. In the play, settler-colonialism is a big one. It’s depicted as a home invasion, a ship taking up a whole harbour, and as a process of devaluing land and ignoring its custodians. This trickles into contemporary institutions (widely understood patterns, rules or structures within society) which perpetuate these dynamics of race and power, such as the police and the media. Oppression is similarly maintained in The Longest Memory , where physical violence, and even just the threat of possible physical violence, is used to enslave African Americans. Plus, all of this racial violence was justified by the socio-economic interests of enslavers . Both texts see Bla(c)k people disempowered by a range of white institutions.

Check out our comparative scene analysis where we explore this theme in more depth.

Family and Community

On the other hand, family and the wider community are depicted as a galvanising or healing force in both texts. In The 7 Stages of Grieving , we see how death can bring together entire communities to commiserate, dance and mourn collectively, drawing on one another’s strength. Depictions of families in projections of photographs also outline how joy and solidarity can be drawn from community. In the novel, family ties are also important. Whitechapel and Cook build a committed relationship to one another; she even says, “he proves he loves me every day.” At the same time, Cook also provides her unconditional love and support to Chapel, whose education and eventual relationship with Lydia are facilitated by her.

Memory and Grief

Both texts show how memory and grief are significant burdens for Bla(c)k people and operate at multiple dimensions. The play is sort of built around the five stages of grief but demonstrates how First Nations grief isn’t neat or linear. It can go from highly expressive to numb in moments. It also has roots in Australia’s genocidal history such that the death of any First Nations person—but especially elders—is felt widely. In The Longest Memory , there’s a physical dimension to Whitechapel’s grief. He earns the name “Sour-face” because of the worry lines that developed after Chapel’s death. He feels extremely guilty and only after Chapel dies does he realise why Chapel disagreed with him so stubbornly in life. He actually learned the tough lesson that he’d been hoping to teach Chapel.

What about divergent ideas? Let’s break down two now.

Struggle and resistance.

Both texts offer ideas about what the fight against racism might look like, but at times these ideas are more different than similar. In The 7 Stages of Grieving , the main struggle is to be heard and understood . In the play and in real life even, we can see how the media is stacked against First Nations peoples, so their fight is about cutting through the bias and making sure they are fairly represented. In The Longest Memory , the fight against slavery is portrayed quite differently. In a scenario where physical violence was used the way it was in order to oppress, self-emancipation was seen by many as the only path out. Enslaved workers weren’t fighting to be heard, they were fighting to survive. It’s also worth bearing in mind the history of abolition, which happened in Northern states first. This gave them a destination, as well as hope.

The Generation Gap

The other thing that the texts diverge on is the relationship between parents and children. In the play, family is consistently shown to provide support and community. As the woman speaks about her father and brother, the unconditional love and support between them is palpable. However, the novel depicts a bit more conflict— Whitechapel argued with Chapel based on his lived experience, and the many young people he had seen be killed for trying to free themselves. However, Chapel was far more committed to freedom than to survival. There isn’t necessarily a ‘right’ answer either way, but this definitely isn’t a tension that we see in the play.

I discuss all these themes in further detail in A Killer Comparative Guide: The 7 Stages of Grieving & The Longest Memory . In this guide, I offer you a deep dive into these two texts through plot summaries and analyses, structural features, critical readings, and best of all, 5 sample A+ essays fully annotated so you can understand exactly how to achieve better marks in your own essays.

As with all our essay topic breakdowns, we'll follow LSG's THINK and EXECUTE technique, as taught in our How To Write A Killer Text Response . The LSG's THINK and EXECUTE technique follows three steps in the THINK phase - A nalyse, B rainstorm, and C reate a Plan. Learn more about this technique in this video:

Let's use essay topic #1 from the section below.

Compare the ways in which the two texts explore the possibility of social change.

Step 1: Analyse

‘Social change’ is a key term here, but the word ‘possibility’ also stands out to me. Social change—probably towards equality—isn’t something that just happens, so the prompt also wants us to think about how to get there, and whether that seems achievable in the contexts of these stories. The prompt is phrased as an instruction (“Compare”) which invites you to analyse both texts together, but you totally knew that already!

Step 2: Brainstorm

I’d probably start by brainstorming what exactly needs to be changed. In each text, we see institutions and structures which are violent and harmful—from the play, police and the media, and from the novel, the economy itself. However, these institutions are upheld in different ways, and require different mechanisms of change—while the play emphasises grieving and unity, the novel focuses more on emancipation.

Step 3: Create a Plan

Because we’ve got two sets of ideas for each text, let’s alternate the texts (Essay Structure 1, as discussed in How To Write A Killer Comparative ) to cover these ideas in four paragraphs.

P1: Starting with The 7 Stages of Grieving , social change is required at the institutional level. Police and the media are racially biased, and Aboriginal people aren’t given a platform to tell their stories. Reconciliation needs to include Aboriginal voices.

P2: With The Longest Memory , social change is required across the economy that depends on enslaving people and stealing their labour, while others have an economic interest in the status quo.

P3: Because of this, change seems more possible in the play, and we start seeing it happen towards the end, as the ice thaws and people, Bla(c)k and white, march across the bridge together.

P4: On the other hand, emancipation is seen as the only path to change in the novel, as intergenerational social pressures among the enslaving class in the South are insurmountable.

So our contention will probably revolve around the idea that ‘social change’ means different things in each text as social inequalities exist at different levels (Paragraph 1&2)—as such, the ‘possibilities’ for that change look different as well (P3&4), particularly the extent to which white people can be involved in that change.

If you'd like to see the sample A+ essay we wrote up for this essay topic, then you might want to check out our A Killer Comparative Guide: The 7 Stages of Grieving & The Longest Memory!

Sample Essay Topics

Now it's your turn! Give these essay topics a go.

1. Compare the ways in which the two texts explore the possibility of social change.

2. How do The 7 Stages of Grieving and The Longest Memory present the emotional pain of racism?

3. What do Aunty Grace and Chapel illustrate about the complexities of belonging to a racial minority?

4. Compare how the narrative structures of The 7 Stages of Grieving and The Longest Memory enhance their storytelling effect.

5. “People called him Boonie! He was known as Boonie…” (The 7 Stages of Grieving)

6. “I literally saw the boy surrender to that whip …” (The Longest Memory) ‍

7. Compare how the two texts explore innocence.

If you're interested in reading a 50 study scorer's completed essays, along with annotations so you can understand my thinking process, then I would highly recommend checking out LSG's A Killer Comparative Guide: The 7 Stages of Grieving & The Longest Memory.

Useful Resources

How To Write A Killer Comparative study guide

The Ultimate Guide to VCE Comparative

Compare the Pair- A guide to structuring a reading and comparing essay

The link between your contention and topic sentences in relation to the prompt

‍ ‍ A Guide to Structuring a Reading and Comparing Essay

Reading and Comparing Essays

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.

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.

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?

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.

Plot Summaries
Themes, Motifs and Key Ideas
LSG’s Bubble Tea (BBT) Strategy for Unique Strategies
Structural Features Analysis
Sample Essay Breakdown

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

1. Plot Summaries

Summary - the hate race .

Maxine Beneba Clarke’s seminal novel, The Hate Race, follows the childhood and adolescence of its author, who is the main protagonist. The book is a memoir, meaning that it is based around a recollection of her life and filtered through her psyche and experiences. The book begins with Clarke’s family, British citizens of Afro-Carribean descent, moving to Sydney, New South Wales. They settle in the town of Kellyville, which is known as a ‘white picket’ community. Although these communities largely don't exist anymore, what they once described was suburban environments where only Anglo-Australians lived. As you can probably imagine, this immediately caused problems for Clarke’s family, with suspicion from neighbours and racist interactions with other kids in the neighbourhood. Clarke initially focuses on her experiences in kindergarten, revealing how prejudice and discrimination can be inculcated (meaning, ‘taught to’) in children even from such a tender age. Clarke meets her first tormenter - Carlita Allen. Carlita makes every effort to exclude Clarke from participation in usual preschool activities, hurling insults across playgrounds and calling her ‘dirty’. Literally, of course, Carlita is referring to Clarke’s black skin colour, but, metaphorically, it reflects the deeply hateful implication that anyone with a dark complexion is inherently inferior and lesser than white Australians. The bullying doesn’t stop by the time Clarke reaches primary school. In fact, it intensifies, aided and abetted by teachers who consistently turn a blind eye to the constant, gut-wrenching racial abuse. One of the most salient (meaning, ‘important’) scenes arises when Clarke is asked by a teacher what her parents do for a living. Upon informing the teacher that her mother is an actor, and her father is a Mathematics Professor - the first British citizen of Afro-Carribean descent to attend a British university - she is met with the patronising assumption that she must be lying. Surely black people wouldn’t have the emotional and intellectual intelligence to perform such high-powered jobs? Clarke also develops eczema during her primary school years, leaving patches of lighter-coloured skin covering her face, and a newfound hope that, bit by bit, God is answering her prayers and making her white. In high school, the racist rot sets in even further. Clarke develops a new habit for scratching her skin at night to the point of bleeding and bruising. Looking back at this experience, Clarke theorises that this was her body’s way of expressing her extreme discomfort with being black. It gives us a picture of how horrific racism can truly be, and the ways in which it forces minorities into believing that there’s something wrong with them, instead of there being something wrong with the people hurling abuse in the first instance!

It is this stage of her life when Clarke deals with one of the most difficult parts of being a minority in a majority white country. Through her interactions with teachers, friends and boyfriends alike, she becomes deeply angry at those people who abhor racism themselves, but seem unable to step in when racist events are actually occurring. Clarke also deals with more nuanced experiences of racism - people who don’t intend to be racist, but end up making insensitive comments anyway. Whether intentional or not, these comments still hurt, and are still part of the challenges of growing up black in a white country. Nonetheless, Clarke continues to rise above the odds, becoming a prolific high school debater, maintaining her position at the top of the academic cohort, and forming a small but tight-knit group of friends whom she can trust.

Clarke’s recollection of her childhood ends on a relatively abrupt note, with Clarke returning home to realise that her father has left the family for another woman. In a note to the family, he provides no explanation other than that he had a secret affair for many years. Suddenly, Clarke, her brothers, sisters and mother are left to pick up the pieces. In the epilogue, Clarke is now an adult with a child of her own. Walking down Melbourne’s North Road, she reflects on the challenges and opportunities to which her child will be witness. Clarke portrays it as the dual sadness and happiness of knowing that, in Australia, her children will surely have access to more opportunity than in most parts of the world - but it will come at a cost. Namely, they will also have to contend with the remaining undercurrent of racism that, even now, still seeps through Australian society. The unsatisfying end to the novel reflects the nature of racism and the experience of a minority growing up in a white country itself: there is no happy ending. Rather, life becomes a series of painful incidents interspersed with minor victories; those who stand up against racism, those who fail to do so and the hundreds of thousands of Australians who will forever grapple with a society that sees them as ‘ lesser than’ due to the colour of their skin.

Summary - Charlie’s Country

Charlie’s Country , an Australian movie directed by Dutch-Australian Rolf De Heer, follows the story of Charlie, a First Nations man living in late-2000s Australia.

The movie is set in the wake of the 2007 Northern Territory Intervention. As a bit of quick context, this was an action taken by the Commonwealth Government under Coalition Prime Minister John Howard to send Australian Defence Force troops into the Northern Territory. It came in response to the ‘Little Children are Sacred’ report , which raised allegations of child sexual abuse and neglect of children in Aboriginal communities. The intervention also involved restricting alcohol consumption, quarantining a portion of welfare payments to Indigenous residents (with the justification that this would prevent it being spent on alcohol, pornography, cigarettes, etc.) and hefty fines as well as jail sentences for those forced to comply. It is important to note that, throughout the whole intervention, not a single person was prosecuted for child sexual abuse or any related offence. Nonetheless, this intervention had real world, drastic consequences - and that’s exactly what Charlie’s Country explores. At the time of de Heer’s film, Charlie lives in a remote Indigenous community. Signs of the intervention are all around - alcohol is banned from most communities, many individuals face personal bans on procuring alcohol, police officers dot the streets and citizens live under constant watch. Charlie, on a surface level, is a fairly happy-go-lucky individual; he exchanges jokes with police, is friendly with other elders and people in his community and doesn’t seem to do much else. As always with a movie like this - there’s a bigger story behind this all! Rolf de Heer takes us through an increasingly concerning image of Aboriginal communities in the wake of the intervention. Charlie visits his local housing officer and is unable to obtain a house. Here, we see that Charlie is willing to work and wants stable accommodation, but the government is unwilling to provide.

Going on a hunting trip with his friend, ‘Black Pete’, the two are stopped by police and have their guns, as well as the water buffalo they killed, confiscated. Yet again, two Indigenous men try to provide for themselves - but are stopped by a legal system more concerned with rules and procedure than listening to First Nations communities themselves. Charlie decides he’s had enough of having his every move and action monitored, and takes a stolen police car into the bush. Abandoning the car, he tries to live amongst nature for an unidentified amount of time. Cooking fish, performing traditional First Nations dances, painting on the bark and looking for shelter, Charlie finally appears to be home . Yet, as usual, it’s too good to be true - the extreme cold makes Charlie incredibly sick, and, before we know it, he wakes up in a Darwin hospital. After refusing further treatment from the white doctors who fail to understand Charlie’s situation and why he is so angry at what’s happened to him, the predictable cycle begins again: Charlie returns to his community, they all share alcohol as a way of coping with their current situation and flee when the police come running to confiscate the liquor. Charlie isn’t civil with the police this time. In a fit of anger - an outburst of emotion after decades upon decades of control and being denied access to any opportunity - he picks up a bat and smashes the police officer’s car window. Brutally beaten into submission, Charlie is imprisoned as the police officer remarks that he should never have 'gone soft on a blackfella’.

Dragged before the courts, Charlie is imprisoned for assault. When the judge asks him to make a comment, he gives a lengthy speech in his native language. For de Heer, this acts as a symbolic assertion of the First Nations’ rights to their own culture, and a proud statement against the many governments that have continually placed barriers in the way of Indigenous Australians having the same opportunities as any one of us. Eventually, Charlie is released on parole. He expresses a deep desire to go home - but also a sense of defeat . He resolves, in the end, to believe that even if he will always live under the watchful eyes of the Australian Government, he can at least fight back and contribute by doing his bit to maintain the many cultures of our First Nations Peoples. Charlie teaches young Indigenous boys traditional dances, speaking proudly of when he performed a dancing ceremony for Queen Elizabeth in 1973 at the Sydney Opera House. The movie ends with Charlie staring mournfully into the camera, almost looking at the audience themselves. There seems to be no happiness in his eyes - nothing left but a sense of sadness and resignation. I know that, upon approaching the end of the film, I started to feel the same sadness that Charlie so evidently shows us. It’s a different type of emotion; one centered around the pain of knowing that we live in a country that still has not made peace with its past, and refuses to listen to the First Nations Peoples who know it best. Charlie’s Country exposes to us that Australia is a country where, even today, our First Nations citizens are not treated as equals. As such, de Heer’s film is a stark reminder that this state of affairs is not good enough - and that the responsibility for change doesn’t just lie with politicians and decision-makers . It’s our job too: and failure is not an option .

2. Themes, Motifs and Key Ideas

Through discussing Themes, Motifs and Key Ideas, we’ll gain a clearer understanding of some super important ideas to include in your essays. Remember that, when it comes to themes, there’s a whole host of ways you can express your ideas, but this is what I’d suggest as the most impressive method to blow away the VCAA examiners. We’ll be adhering to the CONVERGENT and DIVERGENT strategy. While we don’t go into detail into how to use LSG’s CONVERGENT and DIVERGENT strategy in this guide, I’d highly recommend you get familiar with it by reading How To Write A Killer Comparative .

Connection to Culture (CONVERGENT)

Both de Heer and Clarke offer a unified idea around culture: that being connected to one’s culture is inherently good and positive, and should be encouraged. Let’s break this down. The Hate Race and Charlie’s Country are both works that explore the challenges of individuals maintaining their culture in surroundings which would otherwise see them revert to the ‘standard’. In this case, because we’re talking about Australia, de Heer and Clarke take us through the same story of an overarching, implicit acceptance that the Christian, Anglo way of life is the norm. This standard has deep roots in the colonisation of Australia, and the resulting claim of sovereignty by the Crown. Even as this country has evolved into a multicultural land, it still bears the marks of a ‘European’ country; whether that be our British legal system, Anglo-American democracy or any of the other institutions we have taken from the Western world.

It is in this context that de Heer and Clarke go to special lengths to explain why people should be empowered to connect to their culture. To our author and director, culture is an essential element of who you are, and it is this identity which carries people through life . For Maxine, the shock of realising that she may be the descendant of African slaves, and had lived so many years without having any idea this may be the case, is drawn from the fact that she, as a child, feels incredibly disconnected to who she is. Clarke’s memoir thus reminds us that ‘growing up black in a white country’ is an experience that often results in minority children not truly learning about who they are. Travelling through life, Maxine is continually disconnected from her culture, to the point where performing ‘African tribal dances’ to the school is nothing more than a joke. Even in her own estimation, Maxine has internalised (meaning, she’s adopted it herself) the view that her culture is irrelevant, and there’s no real reason for her to properly engage with all its complexity and beauty.

If we consider Charlie’s perspective, his involuntary burst of tears at the hospital stems from a recognition that his people have been denied the free opportunity to embrace the world’s longest-surviving culture; the First Nations traditions that date back 40,000 years. With his friend slowly dying of lung cancer, at that moment, the old man is more connected to the cigarettes that slowly sapped his life away than he is to the First Nations way of living. Unable to hunt, gather as a community, work the lands as the First Nations traditionally would or embark on any other activity that would keep them connected to their culture, this country’s first inhabitants are instead told to abandon ‘the old ways’ and embrace Anglocentric standards of life.

It is a shocking reminder that, without culture, people are left like driftwood swimming through a vast ocean. By that, I mean that people are left without an anchor through which they can independently experience the world. Instead, their understanding of themselves, their sense of self and their actions in life are all filtered through the preferences of the dominant majority.

Intergenerational Disadvantage (DIVERGENT)

Whilst Charlie’s Country and The Hate Race share many similarities in terms of the negative impacts of racism and prejudice, the texts carry different connotations when it comes to the notion of intergenerational disadvantage.

To explain this idea, let’s first define and unpack ‘intergenerational disadvantage’. We could spend days talking about this, but, simply, intergenerational disadvantage refers to cycles of poverty and criminality that pass from generation to generation, worsening with time. Think of it this way: assume you’re a teenager - or at least still financially reliant on your parents. If your parents were to lose everything they owned today in a massive financial crisis, you’d be in big trouble too, right? Suddenly, that part-time job you had that was helping you save money might be the only income for the entire family. You might even have to drop out of school, TAFE or university to care for everyone, denying you a higher paying job in the future.

You’ll have to work your tail off for years on end. Since you’re supporting an entire family, say goodbye to saving up for a house or to pay for your kid’s education in future. Your kids now have to start from square one with less opportunity than the people around them, meaning it’ll be harder for them to succeed in life.

When we apply this to Charlie’s Country, the analogy becomes quite clear. Charlie lives in a community where there is no opportunity. Because there are no jobs - and no real way to gain steady, meaningful employment - people fall into alcoholism, marijuana and anything else that’ll help them cope. Lung cancer and alcoholism shorten lifespans for people like the old man with failing kidneys, while no employer is going to waste a chance on those still living. There is simply no ability to ‘succeed’ here, because the local residents don’t see that there’s anything worth working towards. Hopeless, unheard and disillusioned, it becomes easier for Charlie’s community to just accept their sorry lot in life than futilely work towards changing it.

We aren’t made witness to this same cycle in The Hate Race. Instead, Bordeaux Clarke is the epitome of someone who has broken the cycle of intergenerational disadvantage; becoming the first individual in his community to attend a British university. Marrying a high-powered Guyanese actress in Cleopatra, the married couple represent success and a defiance of racist stereotypes, not the grinding poverty and disadvantage we see in Charlie’s Country. Although Maxine experiences terrible discrimination and prejudice as a child, there is always a sense that she will academically remain on top. Maxine uses the prejudice with which she’s faced as a motivator, giving her the impetus to consistently emerge successful; whether that be in her schooling, cross-country running, as a debater or any other academic endeavour. Sure, she faces racism that inhibits her from always succeeding - the Lions Club competition is a great example of such - but this isn’t so much about intergenerational disadvantage as it is about racism, plain and simple.

Ultimately, the difference between the two is a matter of emphasis. It’s not that intergenerational disadvantage doesn’t exist in The Hate Race, but more so that Clarke is choosing to focus on how even the most successful individuals can suffer from prejudice and racism. This in turn helps us to understand that racism impacts everyone , and we should never pretend it isn’t a massive problem. Conversely, Charlie’s Country is all about social disadvantage, and explores how prejudice can prevent oppressed individuals from becoming successful in the first place.

3. LSG’s Bubble Tea (BBT) Strategy for Unique Strategies

Why is an interpretation important.

Your interpretation is what English is all about; it’s about getting you to think critically about the essay topic at hand, to formulate a contention (agree, disagree, or sit on the fence) and argue each of your points with the best pieces of evidence you can find - and it’s something you might already be starting to do naturally.

In this section, we aim to help you develop your own interpretation of the text, rather than relying on your teacher, tutor or even a study guide (including this one) author’s interpretation. By developing your own interpretation, you become a better English student by:

Writing with meaning. For a text to be interpreted, you need a text and an interpreter (i.e. you!). Whenever we read a new text, our interpretation of a text is shaped by our pre-existing beliefs, knowledge and expectations. This should be reassuring because it means that you can leverage your own life experiences in developing a unique interpretation of the text! We’ll show you how this works in the next point.
Remembering evidence (quotes or literary devices) more easily. If you know you admire a character for example (which is in itself an interpretation 😉), you can probably remember why you admire them. Perhaps the character’s selflessness reminds you of your Dad (see how you’re using real life experiences mentioned in Point 1 to develop an interpretation of the text?). You will then more easily recall something the character said or did in the text (i.e. evidence) that made you admire them.
Having an analysis ready to use alongside the evidence. As a result of Point 2 , you’ll be able to write a few sentences based on your own interpretation. Rather than memorising entire essays ( we’ve talked about this before ) and regurgitating information from teachers, tutors, study guides and other resources - which can be labour intensive and actually detract from the originality of your essay - you’re approaching the essay with your own thoughts and opinions (which you can reuse over and over again across different essay topics).

Let’s look on the flip side. What happens when you don’t have your own interpretation?

When you don’t take the time to actively think for yourself - i.e. to think through your own interpretations (we’ve talked about the importance of THINK in the THINK and EXECUTE strategy here ) - when it finally comes to writing an essay, you may find it difficult:

a) to get started - formulating a contention in response to the essay topic is challenging because you have no strong opinion about the text ,

b) complete the essay - writing up arguments and using evidence in paragraphs becomes challenging because you have no strong opinion about the text ,

c) to score higher marks - ultimately, you end up regurgitating other people’s ideas (your teacher’s, tutor’s or from study guides) because you have (you guessed it) no strong opinion on the text .

Having your own interpretation means that you’ll eliminate issues a, b and c from above. Overall, you’ll have opinions (and therefore contentions) ready for any prompt when you go into your SACs or exams, which means it’ll be easier not only to write a full essay, but an original and insightful one as well.

To overcome the issues above, you need to be confident with your own interpretation of the text. This doesn’t come naturally to a lot of students, and it makes sense why. After all, so many subjects reward specific answers (2 + 2 = 4), whereas English is tricky because there’s so much more flexibility in what constitutes a ‘correct answer’. It’s scary treading the sea of different possible interpretations because you’ll ask yourself questions like:

How do I know if my interpretation is correct?
How do I know if my evidence actually backs up what I’m arguing?
What if I disagree with my teacher, and they mark me down for a differing opinion?
Or worse - I’m not smart enough to come up with my own interpretation!

Let me say that you are absolutely smart enough to develop your own interpretation, and I’ll show you how to do so in A Killer Comparative Guide: The Hate Race & Charlie’s Country with LSG’s unique strategy - the BUBBLE TEA (BBT) strategy . By following our step-by-step framework, you can be confident that your interpretation is valid, that it backs up your argument, and that most importantly, you won’t lose marks for it!

4. Structural Features Analysis

In How To Write A Killer Text Response , we cover Metalanguage . A Structural Features Analysis and Comparison goes over a lot of the same material, and will help elevate your essays to the next level. Knowing quotes and themes is essential, but being able to pair that with analysis of the title, setting, narrator and overall structure - we'll cover title here - shows the examiner that you really know exactly what you’re talking about. This section will be especially crucial for metalanguage topics that are all about how Charlie’s Country and The Hate Race are structured , so, enjoy!

The title of a text is always significant - and this text pairing is no different. First, of course, please do keep in mind that there is no universally accurate interpretation of what a title means. I’m giving you my assessment, but the author and director could very well disagree themselves! That’s okay, because as long as we back it up properly, your interpretation is as valid as any. As always, that’s the beauty of English. Let’s first unpack The Hate Race. What this title signifies is that, for minorities in Australia, life is constantly akin to a race. There is no rest, no comfort and no sense of home when your mind is preoccupied with all the ways you don’t belong. Australia, as a colonial outpost representing the Crown in a region that is overwhelmingly non-white, was once proud of its discriminatory stances; holding itself as the 'White Man’s Paradise'. It is in this context that racism, for Clarke, is not just a reality that lurks beneath the surface, but rather, a guiding tenet of Australia since 1788. With this overarching narrative, it is also important to acknowledge that the mere experience of racism is immensely emotionally, physically and mentally taxing for Clarke, and all people of colour. Being denied a firm sense of self, and constantly being forced to justify one’s own existence isn’t easy, and becomes a ‘race against time’ to see who can cope and rise above, and who will be swept away along with the tide. This sorrowful reality is what engenders the never ending race against being consumed by such hatred, because, for non-white Australians, there simply is no other choice. If they stop running, they run the risk of being consumed by the hatred themselves and becoming so cynical and disillusioned that they forget their culture and accede to the Anglocentric, white majority.

Moving to de Heer’s film, Charlie’s Country, the title reflects a simple reality: this is Charlie’s country. However, when de Heer speaks of ‘country’, he is really talking about ‘Country’; the Indigenous notion of connection to and respect for one’s traditional lands. Nurturing this connection is a sacred responsibility, and the film reminds us that, despite Charlie’s many trials and tribulations, the land on which he lives is truly his own. Throughout the film, Charlie maintains a keen awareness that what is happening to him is unjust, and, unlike Maxine, he doesn’t need someone to convince him that he belongs. Whatever Anglo Australia does, it cannot change the continuing legacy of his people and their sovereignty. To Charlie, it is laughable to think that his Country - which the First Nations have nurtured and kept in common use for 40,000 years - could suddenly become someone else’s property in less than 200 years. He may not have any legal authority under the Crown, and his people may be dispossessed of their sovereignty and authority, but this cannot and will not change the remaining truth of First Nations sovereignty. De Heer’s film title thus challenges us to confront our own perceptions of Australia and remember that we all live on stolen land.

As with all our essay topic breakdowns, we'll follow LSG's THINK and EXECUTE strategy , as taught in our How To Write A Killer Text Response study guide. The LSG's THINK and EXECUTE strategy follows three steps in the THINK phase - A nalyse, B rainstorm, and C reate a Plan. Learn more about this technique in this video:

'I’m free now!' ( Charlie’s Country ) 'My children are the descendants of the unbroken.' ( The Hate Race ) Compare the characters’ understanding of freedom in the two texts.

Let’s break down the prompt. This is a quote-based prompt, meaning the quote must feature somewhere in your essay . Ensure that you have a good understanding of the place from which the quote is drawn. In this case, Charlie’s exclamation of joy features when he escapes to the wilderness and is able to cook, dance and provide for himself. The quote from The Hate Race is the last line of the memoir, with Clarke expressing the sentiment that her children belong in Australia and will be as strong as their parents.

The next part is to establish the link between the quote and the topic. The essay topic at hand asks us how 'freedom' is understood, so we need to actually understand freedom itself in relation to the quotes provided. For de Heer and Clarke, freedom isn’t an abstract concept relating to rights, liberties and responsibilities. Rather, freedom is found when people have the ability to be themselves, own their culture and live their truth. For Charlie, that mainly relates to his right to live in his country and maintain the traditional ways of the First Nations Peoples. Clarke, however, is more focused on the balancing act of finding freedom through a multicultural society that includes all, and in doing so celebrates the contribution that all cultures make into the melting pot that is Australia.

There’s no one correct way to structure your paragraphs for Charlie’s Country and The Hate Race . However, I find it consistently helpful to follow a chronological structure. This refers to going through events of the memoir and film in the order they actually occur, and finding unique points of analysis based around these chronological groupings.

We also need to think of examples and points of comparison. Base these around the themes we’ve gone through, so you can easily identify DIVERGENT and CONVERGENT points of comparison. I’ll walk you through my thinking.

Paragraph 1 – unable to experience freedom because systems exist to stop individuals from embracing their own culture

Kellyville and Alice Springs are immediately established as communities where rules and standards of association are both made and enforced by white authorities. The types of authorities and the prevalence of this overarching system of control differs between The Hate Race and Charlie’s Country , but are not any less harmful.

Paragraph 2 – attempts at pushback are rebuffed, resulting in further punishment for the simple crime of failing to conform

Anglo Australia maintains its dominance through an assumption that minority Australians and First Nations Peoples will not question their place. Thus, when there is even the smallest semblance of resistance, punishment is the only solution.
The difference here is that while Charlie wages an active resistance against white authorities, Maxine is moreso placed into submission by the repeated failure of her pleas to be heard by anyone in a position to change what is occurring. At the centre of both situations, though, is a desire to break free of white Australia’s chains.

Paragraph 3 – finding cultural freedom is a slow process of change, but one that begins with self acceptance

There is no happy ending to either The Hate Race or Charlie’s Country. Freedom does not suddenly spring forth. Instead, our author and director elucidate that cultivating freedom is a slow process. For Charlie, that begins with embracing his culture again and seeking to keep it alive. On Maxine’s part, it is about refusing to be broken by her past, and instead using her trauma as a motivator to build a better future.

If you'd like to see the sample A+ essay we wrote up for this essay topic, then you might want to check out our A Killer Comparative Guide: The Hate Race & Charlie's Country study guide !

If you’ve been studying John Donne’s metaphysical poetry, you’ve probably noticed that his works are riddled with different symbols and motifs. Embedded throughout his poetry, these literary devices may seem slightly abstruse to the reader. You may find yourself asking: What do they mean? And in relation to what? Even Donne’s contemporaries failed to appreciate his poetry. The neoclassical poet John Dryden rejected Donne’s works because it “affects the metaphysics” and “perplexes the minds of the fair sex with nice speculations of philosophy, when he should engage their hearts, and entertain them with the softnesses of love”.

One thing that you should understand about Donne’s romantic poetry, is that while his stark images of compasses and spheres may seem foreign to you, they were also alien to his predecessors too. So, if you’re struggling to comprehend his enigmatic poetry, not to fear! Because John Donne’s poetic peers didn’t initially get it either.

The reason for this is because Donne refused to conform to the poetic conventions of the time. The poet emerged as an idiosyncratic in the Elizabethan era, the Renaissance. Unlike his contemporaries, he didn’t employ elaborate descriptions of symbol natural landscapes, classical myths and female beauty. The reason for this was because Donne did not believe in the one-sided love and emotional frustrations that his contemporaries tried so hard to convey in such imagery.

Donne’s poetry was so different because he rejected and even openly mocked the idea of such a high-minded religious worship in literary romance. In “A Valediction Forbidding Mourning,” Donne criticises the “tear-floods” and “sigh-tempests” of the “dull sublunary lovers.”. In a similar vein, Donne satirises the “sighs” and “tears” (The Canonisation) so prevalent in Petrarchan works.

Instead, Donne advocated for a different kind of love. He espoused a love that comprised of the Body and the Soul, which was a dominant intellectual issue in the literary treatment of love in the 1590s. More specifically, Donne embraced the balance between Platonic love and the Ovidian love.

Platonic: Platonic love is essentially love that surpasses the mere sensual and physical. It is a very spiritual concept and is based on reason, affection, respect, intellect and compatibility.

Ovidian: Ovidian love

The idea of balance derived from discoveries being made about the human body during the Elizabethan era. The Renaissance was fundamentally a time of discovery (particularly in the area of science). Elizabethans believed that elements in the body needed to be balanced,

Top Tip: When you’re analysing John Donne’s poetry and writing essays, be aware of Donne’s overarching message in his romantic poetry. Most explanations about his use transcendent relationship with his lover is thus determined by obtaining a balance between the spiritual and earthly pleasures. Most examination questions will leave room for to discuss the connection between the material and the divine world! Make sure to understand this, because this is a huge component to his poetry.

We've curated essay prompts based off our The Golden Age Study Guide which explores themes, characters, and quotes.

Before getting started on your own essay writing using our essay topics, feel free to watch the video below where Lisa brainstorms and breaks down the topic:

"The Golden Age is primarily a tragic tale of isolation. Discuss"

If you're looking for more support, including a sample The Golden Age essay, Vindhya (English study score of 46) offers her take on how to write an essay in Dissecting an A+ Essay .

LSG-curated The Golden Age essay topics

1. “Being close made them stronger.” In The Golden Age , adversities are tempered by camaraderie. Do you agree?

2. Despite the grim context, The Golden Age highlights and celebrates the potential of life. Discuss.

3. Memories of past successes and failures have significant lingering effects on characters in The Golden Age . Is this an accurate assessment?

4. “[I would be] a fox, following a Palomino.” How do animals such as these contribute symbolically to The Golden Age ?

5. It is largely loneliness which defines the struggles of the children in The Golden Age . Discuss.

6. In what ways is The Golden Age a novel of displacement?

7. Fear of the unknown is something which permeates The Golden Age . Is this true?

8. What is the role of family in Joan London’s The Golden Age ?

9. Isolation in The Golden Age exists in many oppressive forms. Discuss.

10. Throughout The Golden Age , London draws attention to beauty rather than to suffering. Discuss.

11. In spite of their youth, it is the children of The Golden Age who understand best what it means to be an individual in the world. Do you agree?

12. How do characters from The Golden Age learn, grow and mature as the novel takes its course?

13. Due to the range of different onset stories, each of the children and their families in The Golden Age face a different struggle with their identity. Discuss.

14. “Home. She hadn’t called Hungary that for years.” In spite of all their struggle, the Golds never truly feel any sense of belonging in Australia. To what extent do you agree?

15. Explore the factors which drive Joan London’s characters to persevere.

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

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Study Skills

Reflective practice toolkit, introduction.

What is reflective practice?
Everyday reflection
Models of reflection
Barriers to reflection
Free writing
Reflective writing exercise
Bibliography

Many people worry that they will be unable to write reflectively but chances are that you do it more than you think! It's a common task during both work and study from appraisal and planning documents to recording observations at the end of a module. The following pages will guide you through some simple techniques for reflective writing as well as how to avoid some of the most common pitfalls.

What is reflective writing?

Writing reflectively involves critically analysing an experience, recording how it has impacted you and what you plan to do with your new knowledge. It can help you to reflect on a deeper level as the act of getting something down on paper often helps people to think an experience through.

The key to reflective writing is to be analytical rather than descriptive. Always ask why rather than just describing what happened during an experience.

Remember...

Reflective writing is...

Written in the first person
Free flowing
A tool to challenge assumptions
A time investment

Reflective writing isn't...

Written in the third person
Descriptive
What you think you should write
A tool to ignore assumptions
A waste of time

Adapted from The Reflective Practice Guide: an Interdisciplinary Approach / Barbara Bassot.

You can learn more about reflective writing in this handy video from Hull University:

Created by SkillsTeamHullUni

Hull reflective writing video transcript (Word)
Hull reflective writing video transcript (PDF)

Where might you use reflective writing?

You can use reflective writing in many aspects of your work, study and even everyday life. The activities below all contain some aspect of reflective writing and are common to many people:

1. Job applications

Both preparing for and writing job applications contain elements of reflective writing. You need to think about the experience that makes you suitable for a role and this means reflection on the skills you have developed and how they might relate to the specification. When writing your application you need to expand on what you have done and explain what you have learnt and why this matters - key elements of reflective writing.

2. Appraisals

In a similar way, undertaking an appraisal is a good time to reflect back on a certain period of time in post. You might be asked to record what went well and why as well as identifying areas for improvement.

3. Written feedback

If you have made a purchase recently you are likely to have received a request for feedback. When you leave a review of a product or service online then you need to think about the pros and cons. You may also have gone into detail about why the product was so good or the service was so bad so other people know how to judge it in the future.

4. Blogging

Blogs are a place to offer your own opinion and can be a really good place to do some reflective writing. Blogger often take a view on something and use their site as a way to share it with the world. They will often talk about the reasons why they like/dislike something - classic reflective writing.

5. During the research process

When researchers are working on a project they will often think about they way they are working and how it could be improved as well as considering different approaches to achieve their research goal. They will often record this in some way such as in a lab book and this questioning approach is a form of reflective writing.

6. In academic writing

Many students will be asked to include some form of reflection in an academic assignment, for example when relating a topic to their real life circumstances. They are also often asked to think about their opinion on or reactions to texts and other research and write about this in their own work.

Think about ... When you reflect

Think about all of the activities you do on a daily basis. Do any of these contain elements of reflective writing? Make a list of all the times you have written something reflective over the last month - it will be longer than you think!

Reflective terminology

A common mistake people make when writing reflectively is to focus too much on describing their experience. Think about some of the phrases below and try to use them when writing reflectively to help you avoid this problem:

The most important thing was...
At the time I felt...
This was likely due to...
After thinking about it...
I learned that...
I need to know more about...
Later I realised...
This was because...
This was like...
I wonder what would happen if...
I'm still unsure about...
My next steps are...

Always try and write in the first person when writing reflectively. This will help you to focus on your thoughts/feelings/experiences rather than just a description of the experience.

Using reflective writing in your academic work

Man writing in a notebook at a desk with laptop

Many courses will also expect you to reflect on your own learning as you progress through a particular programme. You may be asked to keep some type of reflective journal or diary. Depending on the needs of your course this may or may not be assessed but if you are using one it's important to write reflectively. This can help you to look back and see how your thinking has evolved over time - something useful for job applications in the future. Students at all levels may also be asked to reflect on the work of others, either as part of a group project or through peer review of their work. This requires a slightly different approach to reflection as you are not focused on your own work but again this is a useful skill to develop for the workplace.

You can see some useful examples of reflective writing in academia from Monash University , UNSW (the University of New South Wales) and Sage . Several of these examples also include feedback from tutors which you can use to inform your own work.

Laptop/computer/broswer/research by StockSnap via Pixabay licenced under CC0.

Now that you have a better idea of what reflective writing is and how it can be used it's time to practice some techniques.

This page has given you an understanding of what reflective writing is and where it can be used in both work and study. Now that you have a better idea of how reflective writing works the next two pages will guide you through some activities you can use to get started.

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What is the point of a Reflective Commentary

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

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

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

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

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

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

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

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

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

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

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Examples of Reflective Writing

Types of reflective writing assignments.

A journal requires you to write weekly entries throughout a semester. May require you to base your reflection on course content.

A learning diary is similar to a journal, but may require group participation. The diary then becomes a place for you to communicate in writing with other group members.

A logbook is often used in disciplines based on experimental work, such as science. You note down or 'log' what you have done. A log gives you an accurate record of a process and helps you reflect on past actions and make better decisions for future actions.

A reflective note is often used in law. A reflective note encourages you to think about your personal reaction to a legal issue raised in a course.

An essay diary can take the form of an annotated bibliography (where you examine sources of evidence you might include in your essay) and a critique (where you reflect on your own writing and research processes).

a peer review usually involves students showing their work to their peers for feedback.

A self-assessment task requires you to comment on your own work.

Some examples of reflective writing

Social science fieldwork report (methods section).

The field notes were written by hand on lined paper. They consisted of jotted notes and mental triggers (personal notes that would remind me of specific things when it came to writing the notes up). I took some direct observational notes recording what I saw where this was relevant to the research questions and, as I was aiming to get a sense of the culture and working environment, I also made researcher inference notes .

I found the note-taking process itself helpful, as it ensured that I listened carefully and decoded information. Not all the information I recorded was relevant but noting what I found informative contributed to my ability to form an overview on re-reading. However, the reliability of jotted notes alone can be questionable. For example, the notes were not a direct transcription of what the subjects said but consisted of pertinent or interesting information.

Rarely did I have time to transcribe a direct quotation, so relied on my own fairly rapid paraphrasing, which risks changing the meaning. Some technical information was difficult to note down accurately . A tape recorder would have been a better, more accurate method. However, one student brought a tape recorder and was asked to switch it off by a participant who was uneasy about her comments being directly recorded. It seems that subjects feel differently about being recorded or photographed (as opposed to observers taking notes), so specific consent should be sought before using these technologies .

Description/ explanation of method.

Includes discipline-specific language

Critical evaluation of method

Conclusion and recommendation based on the writer's experience

Engineering Design Report

Question: Discuss at least two things you learnt or discovered – for example about design or working in groups or the physical world – through participating in the Impromptu Design activities.

Firstly, the most obvious thing that I discovered was the advantage of working as part of a group . I learned that good teamwork is the key to success in design activities when time and resources are limited. As everyone had their own point of view, many different ideas could be produced, and I found the energy of group participation made me feel more energetic about contributing something .

Secondly I discovered that even the simplest things on earth could be turned into something amazing if we put enough creativity and effort into working on them . With the Impromptu Design activities we used some simple materials such as straws, string, and balloons, but were still able to create some 'cool stuff' . I learned that every design has its weaknesses and strengths and working with a group can help discover what they are. We challenged each other's preconceptions about what would and would not work. We could also see the reality of the way changing a design actually affected its performance.

Addresses the assignment question

Reflects on direct experiences

Direct reference to the course activity

The style is relatively informal, yet still uses full sentences.

Relating what was learnt.

Learning Journal (weekly reflection)

Last week's lecture presented the idea that science is the most powerful form of evidence . My position as a student studying both physics and law makes this an important issue for me and one I was thinking about while watching the 'The New Inventors' television program last Tuesday . The two 'inventors' (an odd name considering that, as Smith (2002) says, nobody thinks of things in a vacuum) were accompanied by their marketing people. The conversations were quite contrived, but also funny and enlightening. I realised that the marketing people used a certain form of evidence to persuade the viewers (us?) of the value of the inventions . To them, this value was determined solely by whether something could be bought or sold—in other words, whether something was 'marketable'. In contrast, the inventors seemed quite shy and reluctant to use anything more than technical language, almost as if this was the only evidence required – as if no further explanation was needed.

This difference forced me to reflect on the aims of this course—how communication skills are not generic but differ according to time and place. Like in the 'Research Methodology' textbook discussed in the first lecture, these communication skills are the result of a form of triangulation, which I have made into the following diagram:

...

Description of topic encountered in the course

The author's voice is clear

Introduces 'everyday' life experience

The style is relatively informal, yet still uses full sentences

Makes an explicit link between 'everyday' life and the topic

Brookfield, S 1987, Developing critical thinkers: challenging adults to explore alternative ways of thinking and acting , Open University Press, Milton Keynes.

Mezirow, J 1990, Fostering critical reflection in adulthood: a guide to transformative and emancipatory learning , Jossey-Bass, San Francisco.

Schön, DA 1987, Educating the reflective practitioner , Jossey-Bass. San Francisco.

We thank the students who permitted us to feature examples of their writing.

Prepared by Academic Skills, UNSW. This guide may be distributed or adapted for educational purposes. Full and proper acknowledgement is required.

Essay and assignment writing guide

Essay writing basics
Essay and assignment planning
Answering assignment questions
Editing checklist
Writing a critical review
Annotated bibliography
How do I write reflectively?
Examples of reflective writing
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The Ultimate Guide to the VCE English Framework of Ideas

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

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

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

Read on to find out more!

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

What is the Framework of Ideas?

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

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

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

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

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

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

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

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

Will I be assessed on the Framework of Ideas?

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

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

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

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

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

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

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

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

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

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

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

Overall, there are three key parts in this extract:

The framework
The stimuli

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

What are the four options within the Framework of Ideas?

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

Writing about Country

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

Key texts provided by VCAA :

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

Writing about Protest

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

Key texts provided by VCAA:

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

Writing about Personal Journeys

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

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

Writing about Play

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

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

Audience and Context

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

– Extracted from VCAA’s VCE English Study Design

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

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

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

Reflective Commentary

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

Specifically, the task may involve:

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

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

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

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

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

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

That’s all!

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

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

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

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

We have an incredible team of VCE tutors and mentors!

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

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

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

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

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

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

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

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

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

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

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

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

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

Share with others:

What do teachers say about this resource (5117).

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

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

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

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

Reflective writing: Examples of reflective writing

What is reflection? Why do it?
What does reflection involve?
Reflective questioning
Reflective writing for academic assessment
Types of reflective assignments
Differences between discursive and reflective writing
Sources of evidence for reflective writing assignments
Linking theory to experience
Reflective essays
Portfolios and learning journals, logs and diaries
Examples of reflective writing
Video summary
Bibliography

Examples of reflective writing from the web:

Nursing: Assessing Mrs Drew’s Pain (full essay)
Four collected examples of reflective writing in nursing (note the tutor comments!)
Critical incident report (medicine & nursing)
Education 1: Several extracts on this resource
Education 2: Teaching practice example (at end of this booklet).
Business example showing difference between retelling, relating and reflecting.
<< Previous: Portfolios and learning journals, logs and diaries
Next: Video summary >>
Last Updated: Jan 19, 2024 10:56 AM
URL: https://libguides.hull.ac.uk/reflectivewriting
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IMAGES

50 Best Reflective Essay Examples (+Topic Samples) ᐅ TemplateLab
How to write a reflective commentary
50 Best Reflective Essay Examples (+Topic Samples) ᐅ TemplateLab
50 Best Reflective Essay Examples (+Topic Samples) ᐅ TemplateLab
FREE 6+ Reflective Writing Samples & Templates in PDF
50 Best Reflective Essay Examples (+Topic Samples) ᐅ TemplateLab

COMMENTS

Writing a good reflective commentary
The reflective commentary is not an academic essay, so you don't need to use academic jargon. Use first person, because it's a personal reflection on your work. However, don't be too colloquial and chatty either - your tone needs to be moderate and considered. Don't say "I tried to do X but it was rubbish".
Score 10/10 on the reflective commentary
Having scored a 10/10 in my own reflective commentary, I will provide a structure that can be used to ensure you are including everything you need. I discussed my own reactions to the original text, and described how I wanted to rouse similar reactions in the reader of my creative response. In your reflective commentary, it can be easier to put ...
An Example Critical Commentary
An Example Critical Commentary. Our latest assignments came back within four days of submission—a fast turnaround. Mine scored a high merit. Its main weaknesses were: I should have mentioned more works of dystopian literature, rather than other media such as film and television drama. I had brought in the other media because part of the essay ...
How to write a reflective commentary
It's likely that you'll be asked to write a reflective commentary at some point during your degree (Ideas into Action L5 and many CW modules).Here are some p...
PDF WRITING YOUR CRITICAL REFLECTION
Priscilla Morris. Writing reflectively develops your awareness of how you created a poem, story, script or piece of creative non-fiction. It deepens your understanding of your writing process and acknowledges the literary influences that fed into and shaped your writing. It's a myth that poems and stories are created in a burst of inspiration ...
Writing a good creative reading commentary
Here are some exercises that will help you build up your Creative Reading Commentary: 1) Close Reading. Take an excerpt by your chosen writer and look at it in depth. Examine all the techniques used by the writer in that short extract and make some notes (even if these aren't all included in your final CRC).
How to crack the reflective essay: Part 1
What the writer did and why. What they think about what they did. What they'll do next time. For me the key part to these three bullet points is the first one. The reflective essay should cover how their creative work developed, and the crucial part of this is to remember that this must comprise a reflection on what the writer technically did.
How to Write a Reflective Commentary
I loved the way it develops the commentary/rationale from a writer's point of view. It really encourages the student writer to reflect on the process of the craft of writing. R Hill, Teacher & Peer Reviewer. Superb content! I was pleased to see pages dedicated to commentary style, and examples given that allow students to craft their writing.
PDF Reflective prompts
Some reflective phrases These are just some starter phrases that might help. General Analysis • The most significant issue arising from this experience was … • Alternatively this might be due to … • I feel this situation arose because … Reflection on self • At the time I felt that … • Initially I did not question …
Creative Writing
Example Reflective Commentary; Drafting chart, reading log, quotation log, and commentary checklists all included. Plus! ... The author has done every teacher of creative writing a big favour. It gives clear and precise advice on how to do a commentary. Lots of examples and particular guidance. Would save anyone teaching the syllabus a lot of work.
Creative writing commentaries: don't know where to start?
The first commentary on any creative writing that I had to write - or read - was the 30,000 word commentary I wrote for my PhD in Creative Writing. I didn't find it easy. The next I tangled with were the 300 word commentaries that my Open University students have to write for their course. They don't - most of them - find it easy either. Of course, most writers take some kind of notice of what ...
Reflective writing
Reflective writing gives you an opportunity to think deeply about something you've learned or an experience you've had. Watch the video below for a quick introduction to reflective writing. The video includes an example of reflecting on practice, but the approach is equally useful when reflecting on theory.
PDF Creative Writing
Reflective writing can take a number of forms: it can be a letter to the professor, an essay about one's writing, or a formal artist's statement. In most creative writing classes, the purpose of reflective writing is to assess your growth as a writer by documenting your writing and revision process, your struggles and successes as a writer ...
Reflective writing: Examples & exercises
Free Writing: The 6 Minute Write Exercise. Use Bolton's (2014, p. 136) Six Minute Write exercise to begin any writing exercise, whether academic or reflective, personal or formal. Write whatever comes to mind and let your writing flow freely. Keep writing and do not pause to think too much about what you are writing.
PDF Creative Writing Portfolio
Reflective Commentary (2111 words ) Volume 2: 2009-2010 ISSN: 2041-6776 School of English Studies . Creative Writing Portfolio ... Creative Writing Portfolio INNERVATE Leading Undergraduate Work in English Studies, Volume 2 (2009-2010), pp. 447-470 450 Lunchtime at the Coffee Shop
The Ultimate Guide to VCE Creative Writing
The creative writing task assesses your ability to combine features of an existing text with your own original ideas. The key intention here is to demonstrate your understanding of the world of the text. You can achieve this by exploring and applying selected elements from the text, such as context, themes, literary devices like symbols, and/or ...
Reflective writing
Blogs are a place to offer your own opinion and can be a really good place to do some reflective writing. Blogger often take a view on something and use their site as a way to share it with the world. They will often talk about the reasons why they like/dislike something - classic reflective writing. 5. During the research process
What is the point of a Reflective Commentary
What is the point of a Reflective Commentary. A good many students look upon the Reflective Commentary as a nasty trap set by module writers and tutors to catch writing students unawares. And unless students understand the purpose of a reflective commentary it can indeed become a trap, or something that trips the student writer up.
Examples of Reflective Writing
We thank the students who permitted us to feature examples of their writing. Prepared by Academic Skills, UNSW. This guide may be distributed or adapted for educational purposes. Full and proper acknowledgement is required. Learn more about the different types & examples of reflective writing including journal, learning diary, peer review and more.
The Ultimate Guide to the VCE English Framework of Ideas
Reflective Commentary. The reflective commentary applies specifically to coursework (your SACs). The purpose of the reflective commentary is to make students justify why they took their creative piece in the direction they did by explaining their writing process. Specifically, the task may involve: Why you interpreted the framework the way you did
The Writer's Process: How to Write a Reflective Commentary for A Level AQA
The author has done every teacher of creative writing a big favour. It gives clear and precise advice on how to do a commentary. Lots of examples and particular guidance. Would save anyone teaching the syllabus a lot of work. Excellent matching of the syllabus requirements, clearly written with the new syllabus in mind.
PDF HD393a 4
Microsoft Word - HD393a_4 - Example Reflective Commentary.doc. 1. Introduction. This assignment examines the nature of educational reflection. It begins with a reflective analysis of significant learning events in my own professional and personal development. This focuses principally on the last six years, three of which have been spent in ...
Reflective writing: Examples of reflective writing
Four collected examples of reflective writing in nursing (note the tutor comments!) Critical incident report (medicine & nursing) Education 1: Several extracts on this resource. Education 2: Teaching practice example (at end of this booklet). Business example showing difference between retelling, relating and reflecting.