what is a response to text essay

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

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

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

Key Elements of a Response Essay

A response essay typically includes the following key elements:

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

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

Understanding the Assignment

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

Pay attention to key elements such as:

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

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

Analyzing the Prompt

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

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

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

Developing a Thesis Statement

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

When developing your thesis statement, consider the following tips:

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

Structuring Your Response

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

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

Main Body Paragraphs

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

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

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

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How to write a text response

WHAT IS A TEXT RESPONSE?

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

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

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

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

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

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

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

WHAT IS THE PURPOSE OF A TEXT RESPONSE?

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

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

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TEXT RESPONSE STRUCTURE

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

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

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

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

TEXT RESPONSE FEATURES

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

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

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

GETTING STARTED: THE PREWRITING STAGE OF A TEXT RESPONSE

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

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

Read for Understanding:

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

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

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

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

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

Read Directions Carefully:

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

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

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

The Process:

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

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

HOW TO WRITE A TEXT RESPONSE

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

The Introduction:

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

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

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

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

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

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

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

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

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

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

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

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

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

Writing a text response conclusion:

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

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

TIPS FOR WRITING A GREAT TEXT RESPONSE

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

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

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

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

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

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

TEXT RESPONSE TASK FOR STUDENTS

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

The steps for completing a reaction or response paper are:

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

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

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

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

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

USEFUL STATEMENTS TO INCLUDE IN A TEXT RESPONSE

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

Teaching Resources

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Chapter 5: Responding to a Text

What is a response essay.

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

Why am I writing a response essay?

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

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

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

In This Chapter

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

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

How to Write a Response Paper: Understanding the Basics

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

Defining What is a Response Paper

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

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

Purpose of Crafting a Response Paper

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

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

Types of Response Papers

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

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

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How to Write a Response Paper: Pre-Writing Steps

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

Carefully Read and Analyze the Text

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

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

Take Notes and Highlight Key Points

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

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

Develop a Thesis Statement

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

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

Create an Outline

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

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

Actual Writing Process with a Response Paper Format

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

Engage the Reader In Your Introduction

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

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

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

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

Provide Context and Background Information

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

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

Present Your Thesis Statement

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

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

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

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

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

Crafting the Body

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

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

Concluding Your Paper

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

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

Response Paper Example

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

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

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

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

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

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

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

Topic sentences

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

The flow of ideas throughout the paragraph

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

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

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

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How to Write a Text Response Essay: Structure & Tips 

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

What is a text response essay?

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

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

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

How do you structure a Text Response Essay?

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

How to Write a Text Response Introduction

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

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

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

How to Write a Text Response Body Paragraph

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

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

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

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

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

Here is an example of a text response body paragraph: 

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

How to Write a Text Response Essay Conclusion

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

Text Response Essay Writing Tips

When writing text responses essays, you should:

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

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

Want to Excel in Your Text Response Essay Writing?

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

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

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

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24 How do I Write a Response Essay?

Pre-writing steps:

• Read the essay prompt carefully.
• Activate schema

Actively read the assigned article.

Analyze the article to determine the rhetorical situation.

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

Conference #1

Structure your essay.

• Outline the essay you want to write.

Draft a working thesis.

Drafting the essay:

Write a summary of the article as your introduction.

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

Review your draft so far.

Write the conclusion to summarize your thoughts.

Revising steps:

Peer review

Conference #2

• Revise your essay.
• Proofread your essay.

—————————————–

Read the essay prompt carefully

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

Activate schema.

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

Consider your own thoughts about the author and their message.

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

Decide how to respond.

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

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

Outline the essay your want to write.

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

Revise your essay

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

Proofread your essay

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

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

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5.7: Sample Response Essays

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• Page ID 92549

• City College of San Francisco via ASCCC Open Educational Resources Initiative

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Listen to an audio version of this page (36 sec):

• Sample response paper "Spread Feminism, Not Germs" in PDF with margin notes     
• Sample response paper "Spread Feminism, Not Germs" accessible version with notes in parentheses     
• Sample response paper "Typography and Identity" in PDF with margin notes  
• Sample response paper "Typography and Identity" accessible version with notes in parentheses  

How to Write a Response Paper

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

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

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

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

Read and Respond

Grace Fleming

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

The steps for completing a reaction or response paper are:

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

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

The First Paragraph

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

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

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

Stating Your Opinion

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

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

Sample Statements

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

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

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

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How to Write a Critical Response Essay With Examples and Tips

16 January 2024

last updated

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

Definition of a Critical Response Essay

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

Source Analysis

1. Questions That Guide Source Analysis

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

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

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

2. Techniques of Critical Reading

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

3. Creating a Critical Response

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

Writing Steps of a Critical Response Essay

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

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

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

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

B. Research and Documentation

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

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

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

Step 2: Writing a Critical Response Essay

A. organization..

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

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

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

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

Step 3: Post-Writing

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

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

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

Sample Outline Template for a Critical Response Essay

I. Introduction

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

A. First body paragraph

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

B. Second body paragraph

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

C. Third body paragraph

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

III. Conclusion

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

Uniqueness of a Critical Response Essay Outline

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

Expanding an Outline Format Into a Critical Response Essay

1. introduction.

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

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

A. Writer’s Idea

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

B. Evidence

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

C. Interpretation.

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

D. Concluding Sentence

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

3. Conclusion

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

Example of Writing a Critical Response Essay

Topic: American Capitalism: The New Face of Slavery

I. Sample Introduction of a Critical Response Essay

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

II. Example of a Body in a Critical Response Essay

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

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

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

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

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

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

III. Sample Conclusion of a Critical Response Essay

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

Citing Sources in a Critical Response Essay

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

In-text citation:

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

Works Cited:

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

3. Harvard Referencing

• Parenthetical: (Desmond 2019).

Reference List:

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

4. Chicago/Turabian

In-text citation (footnote):

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

Bibliography:

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

Final Provisions on a Critical Response Essay

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

To Learn More, Read Relevant Articles

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The Ultimate Guide to VCE Text Response

May 7, 2019

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Updated 19/01/2021

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

1. What Is Text Response?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

a) Reread your book (or rewatch the film)

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

b) Do a close analysis

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

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

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

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

YouTube Videos

We create general Text Response advice videos like this:

We also create text-specific videos:

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

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

Study Guides

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

After Darkness by Christine Piper

Cosi by Louis Nowra

‍ ‍ Extinction by Hannie Rayson

‍ Flames by Robbie Arnott

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

‍ Go Went Gone by Jenny Erpenbeck

‍ Like a House on Fire by Kate Kennedy

‍ Measure for Measure by William Shakespeare

‍ Old/New World Selected Poems by Peter Skrzynecki

‍ ‍ On The Waterfront by Elia Kazan

‍ Ransom by David Malouf

‍ Rear Window by Alfred Hitchcock

‍ Runaway by Alice Munro

‍ Station Eleven by Emily St John Mandel

Sunset Boulevard by Billy Wilder

‍ The Crucible by Arthur Miller

‍ The Complete Maus by Art Spiegelman ‍

The Erratics by Vicki Laveau-Harvie (Setting)

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

‍ ‍ The Golden Age by Joan London

‍ The Lieutenant by Kate Grenville

‍ The Secret River by Kate Grenville

‍ To Kill a Mockingbird by Harper Lee

‍ William Wordsworth: Poems Selected by Seamus Heaney

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

‍ Year of Wonders by Geraldine Brooks

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

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

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

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

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

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

‍ d) Get your hands on essay topics

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

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

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

e) Brainstorm and write plans

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

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

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

f) Write essays

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

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

After Darkness Essay Topic Breakdown

All the Light We Cannot See Essay Topic Breakdown

‍ Extinction A+ Essay Topic Breakdown

‍ Station Eleven Essay Topic Breakdown ‍ ‍

Women of Troy Essay Topic Breakdown ‍

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

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

5. How To Write a Text Response

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

Introduction

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

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

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

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

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

Body Paragraph

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

• T opic sentence
• L inking sentence

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

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

Conclusions should be short and sweet.

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

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

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

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

Get our FREE VCE English Text Response mini-guide

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

Struggling to answer the essay topic?

Has your teacher ever told you:

"You're not answering the prompt"

"You're going off topic"

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

Most people only think about EXECUTING their essay - the writing. Whether that be essay structure, memorising quotes or how to avoid repeating yourself in the dreaded conclusion. However, my strategy places emphasis on the THINK. 

THINK is the brainstorm, exploration, and development of ideas. Get this right, and you'll come up with ideas and a response that pushes you ahead of your peers. The EXECUTION comes next, only strengthening your lead to the finish line.

So what does THINK actually involve? 🤔

You need to consider aspects of an essay topic that most students gloss over, including:

💭What's the essay topic type ?

Knowing the essay topic type will change your essay structure. While you might wish for a one-size-fits-all essay structure, this is a limited viewpoint that stops you from reaching your potential. Different essay types include:

• Theme-based prompts
• Character-based prompts
• Author's message-based prompts
• Metalanguage-based prompts

By understand what's required in each one of these essay topic types, you'll have a template you can follow to ensure that you answer the prompt (no more complaints from your teacher complaining that you're going off topic!).

💭 What are the question tags ?

Never heard of this term previously? That's because majority of teachers don't teach you to change your Text Response according to the question tag. A ' do you agree?' essay topic expects a different response from a 'discuss' essay topic.

💭 How do I ensure I respond to each keyword ?

This is important so you don't go off topic (we've all at least experienced this once in our high school writing careers 😥). Sometimes, one missed keyword is all it takes to derail your entire essay. No matter how well you've written your essay, an essay that doesn't answer the prompt won't fare well.

For example, have a think about which keywords can be found in this essay topic "Jeff's attempt to pursue justice are entirely without honour. To what extent is this true?".

For me, the keywords include:

- 'Attempt'

- 'Pursue justice'

- 'Entirely'

- 'Honour'

- 'To what extent is this true?'

Even though I've labelled almost every word in the essay topic, individually, each of these keywords will shape my response. Majority of students will pick up the necessity to discuss the keyword 'entirely' in their essays. They will potentially argue that Jeff's attempt isn't entirely without honour, and mention instances where honour was shown. However, a less obvious keyword that needs further exploration is 'justice'. Most students will take this word for granted, and won't really explore what the word 'justice' means in this sentence. A more advanced student will understand that 'justice' in this essay topic is viewed from Jeff's perspective, meaning that what Jeff deems to be 'justice', might not be the same 'justice' for a viewer. These are the nuances in an essay topic that I'd like you to be very confident in.

Knowing how to THINK will ensure that you EXECUTE your essay writing most effectively, optimising your potential to nail that A+. If I went from average to consistent A+s in Year 11 and Year 12, I have no doubt you can do it too. That's why I created the How To Write a Killer Text Response ebook.

I know that you are probably like I was, searching for a clear, simple way to get better at English without just relying on my teacher (despite the fact that I had a great teacher!). I've compiled my 10 years of tutoring English, refining this strategy year after year. With this knowledge, many of my students achieved a study score they thought was impossible (one student Ruby, wanted a study score of 30 to get into her university course, and ultimately achieved a 40 study score! WOW! 😮).

If you're interested, How To Write a Killer Text Response ebook shows you the inner workings of my brain 💭- what I think when I see an essay topic, how I tackle it, and how I turn these thoughts into a high-scoring essay. The ebook includes:

‍ - 50-pages teaching you how to respond to ANY essay topic

- Examples from 15+ popular VCE English texts

- Know exactly what to  THINK  about so you can formulate the best possible essay response

- Plus a bonus 20-pages of high vs low scoring essays , fully annotated (what works and what doesn't) so you know exactly what you need to do and what not to do

Click here to access the FULL version now!

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

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

1. Introduction (Plot Summary)

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

2. Characters and Development

4. Narrative Conventions/Literary Devices

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

Simile/Imagery:

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

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

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

Pathetic Fallacy:

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

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

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

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

Personification:

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

Foreshadowing:

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

5. Sample Paragraphs

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

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

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

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

6. Additional Essay Prompts and Analysis Questions to Consider

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

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

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

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

False Claims of Colonial Thieves 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 .

Why Is Context Important?

When studying a text, it is very important to comprehend its context. Context will help you to understand what the text is about and what the author’s point of view is - key components of doing well in VCE English! Context is especially important for False Claims of Colonial Thieves because the authors frequently reference Australia’s history. Even the title is a nod to its context - it is all about the ‘false claims’ made by Australia’s ‘colonial thieves’, or in other words, Australia’s colonial settlers. Understanding what these false claims are will help you better understand the context and therefore, do significantly better in your English essays and assessments.

Treat this blog as a starting point only . There is so much to learn about these topics, and I recommend you do your own research in addition to reading this blog. To help you do so, I have provided a reliable external source for each topic, so you can start exploring these claims in more depth.

Terra Nullius

One of the biggest ‘false claims’ that Papertalk Green and Kinsella refer to throughout their collaboration is the colonisers’ claim of Australia being terra nullius . When the British came to Australia, they claimed that the country was ‘no man’s land’, denying that the Indigenous Australians had actually lived here for thousands of years. By pretending that no one lived in Australia, this supposedly gave the British ‘legitimacy’ to assume control over the land and those already living on it - i.e. Australia’s First Nations Peoples.

Terra Nullius was used against the Indigenous peoples for many years to justify their horrific treatment. The principle was only overturned in 1992 when an Indigenous man, Eddie Mabo, challenged this claim in the High Court of Australia. Nowadays, we recognise that the Indigenous people were here significantly earlier than the colonisers and that their sovereignty (i.e. their power over the land) was never ceded.

External source for further reading: https://australian.museum/learn/first-nations/unsettled/recognising-invasions/terra-nullius/  

The Stolen Generation

Another false claim was that the Indigenous people were inferior to white people. This claim led to the forcible removal of Indigenous children from their families, so they could be raised by ‘superior’ white people and taught white cultures/languages - these children are referred to as the ‘Stolen Generation’ because they were taken away from their families without their consent.

It was thought that placing Aboriginal children (especially mixed-race Aboriginal children) with white families would make it easier to teach Aboriginal children the ‘proper’ (British) way of living. They were either placed in institutions or adopted by white families, and often faced terrible treatment, including violence, neglect and assault. Neither the children who were removed nor their families have fully recovered from this appalling policy that continued until the 1970s.

Indeed, the effects of the Stolen Generation can still be felt today. One of the major consequences discussed by Papertalk Green and Kinsella is that a lot of Indigenous culture was lost. Many of the children who were taken away were forbidden from practising their cultural traditions or from speaking their Indigenous languages. This ban led to many traditions going extinct and is a tragic effect of this heinous false claim.

External source for further reading: https://aiatsis.gov.au/explore/stolen-generations  

Missions and Reserves 

Another claim explored in the text is the idea that Indigenous peoples could not look after themselves and would be better off with white people ‘protecting’ them. This led to the government forcing Aboriginal people to leave their ancestral lands and relocate to newer, smaller areas - a process known as land alienation. There were two types of this land - missions and reserves - and Aboriginal people faced poor treatment on both.

Missions were usually run by Christian groups so they could convert the Indigenous people to their religion. There was a strong degree of control exercised over these Indigenous people, who were expected to learn the skills required for menial jobs (such as cooking and cleaning). Contrastingly, those living on reserves were not typically subject to as much control. These people were sometimes provided with rations from the government, but there were not usually officials to oversee them.

Both missions and reserves are referred to in False Claims of Colonial Thieves , so it is important to understand the difference between the two.

External source for further reading: https://aiatsis.gov.au/explore/missions-stations-and-reserves  

Now that we’ve examined some of the more historical context , let’s take a closer look at the contemporary and modern background that Kinsella and Papertalk Green write about.

Close the Gap Campaign and Black Deaths in Custody

A key section of the text (particularly the latter third) explores current issues which Indigenous peoples face today. Two of these major concerns lie within the health and justice systems, so it is important to understand why Kinsella and Papertalk Green focus so heavily on these matters.

The Close the Gap Campaign (launched in 2007) aims to reduce the inequality in health and education that many Indigenous peoples face. It was created because the life expectancy is much lower for Indigenous than non-Indigenous peoples, and there is a significant difference between their expected levels of education. Unfortunately, many of these concerns have not been addressed today, and Papertalk Green discusses how her family is constantly dealing with death - a key theme in False Claims of Colonial Thieves that can be explained by this contextual understanding.

External source for further reading: https://www.pmc.gov.au/sites/default/files/reports/closing-the-gap-2018/executive-summary.html  

Similarly, there are a lot of concerns with the number of Aboriginal people in prison, and how many of them die while in police custody. There was even a Royal Commission into Aboriginal Deaths in Custody (i.e. a governmental inquiry) handed down in 1987, however, many of its recommendations have not been implemented to this day. This idea of unfair policing and laws that target Indigenous peoples is a key idea in the text, and Kinsella dedicates a poem to Ms Dhu, an Indigenous woman killed while in custody.

External source for further reading: https://www.theguardian.com/australia-news/2021/apr/09/the-facts-about-australias-rising-toll-of-indigenous-deaths-in-custody  

A key theme of False Claims of Colonial Thieves is mining, which refers to the practice of removing valuable materials from the Earth. Many of these resources are found on traditional Aboriginal lands, which are destroyed by the mining process. This is especially offensive to many Indigenous groups because many Indigenous cultures have a strong spiritual connection to their land (often known as Country). There is consequently a lot of tension between the Indigenous populations and governments, especially in Western Australia, where both of the authors live.

External source for further reading: https://www.aph.gov.au/Parliamentary_Business/Committees/Senate/Former_Committees/uranium/report/d07  

How Can You Use This in Your Essays?

Understanding a text’s context is very important in being able to analyse the text in appropriate depth.

For example, knowing that mining is often considered harmful to the lands to which Indigenous peoples have a strong connection, will allow you to discuss this concept in your essays. Indeed, Papertalk Green argues that mining is just as harmful to Indigenous peoples as earlier ‘false claims’ were, which is a sophisticated idea for you to use in your assessments.

As you begin to better understand and incorporate context into your essays, you can then take things one step further by examining how the author has used context as a means of demonstrating their authorial intent . For example, the effects of the Stolen Generation have been explored in several poems, and a possible viewpoint is that the Stolen Generation was used to demonstrate the devastating loss of Indigenous cultures and traditions.

This blog was updated on 21/10/2020.

4. Character Analysis

6. Symbolism

7. Essay Topics

8. Essay Topic Breakdown

Così 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 .

Lewis is faced with a seemingly impossible task – to bring order to the chaotic world of the asylum – yet in the process of doing so, he develops hugely as a person. Although, it’s important not to take Lewis’ development at face value. His growth is used to highlight many of Nowra’s values on issues surrounding love, fidelity, madness and reality, just to name a few. It’s also important to look at the development (or lack of development) of other characters and think about why Nowra might have included them in the play. Luckily for you, Così is quite a short play and doesn’t have a huge cast of characters. However, this means that it’s even more important to get a great understanding of each character – they’re all there for a reason! 

To fully understand this text, you’ll need to move beyond analysing characters and dialogue and consider Nowra’s main messages. Così is essentially a social commentary, packed full of criticisms of conventional perspectives and values. Also, Così is full of symbols and imagery, which can help you score highly on your essays if you integrate them into your work. Lastly, it's vital to remember that Così is a play, not a book, and on top of that, it is a play within a play. This means that setting, structure and stage directions are all crucial, and make for a high-scoring essay.

Melbourne Mental Institution, Australia during the 1970s.

All of the action takes place inside a burnt-out, derelict theatre. This serves to create an atmosphere of confinement for the audience, encouraging them to reflect on the stifling experience of the patients.

Così is divided into two acts and nine scenes. The play is dominated by Lewis’ development . Act 1 highlights his uncertainty and distance from the world of the asylum. Whereas by Act 2, we see Lewis become more invested in the patients and the asylum, as his relationships with the other characters grow. Lewis’ development is symbolised through the changing imagery throughout the play, specifically fire and water.

Così also is a piece of metatheatre , which Nowra achieves through structuring it as a ‘play within a play’. Metatheatre means that the play draws attention to its distance from reality. This makes sense in relation to Così , as Nowra is continually encouraging his audience to accept their own reality instead of falling into escapism. Including Così Fan Tutte in Così also serves to highlight the difference in popular opinion between Mozart’s era and the 1970s, while emphasising the continuity of love. This contrast also helps Lewis to come to terms with his valuation of love over war, which is at odds with the common opinions of his society.

The line between reality and illusion is explored through the characters who are labelled as ‘insane’ as well as those considered ‘normal.’ Nowra demonstrates that reality is unique for each person, and often people may slip into illusions in order to avoid the truth. It is suggested that although they may not have been completely ‘normal’, those considered to be ‘insane’ still possess great insight that ‘normal’ people may overlook. Additionally, Così reminds the reader of the absurdities of a mental asylum shunned by society, which would only have added to patients’ instabilities, especially as families dealt with the matter secretly. Furthermore, the issue of love and fidelity that was valued so highly in Mozart’s era, is proven to still be relevant in our modern times. Ultimately, Così is a play that criticises traditional structures and views of society – whether they be asylums, university education or harsh stigma. Nowra encourages his audience to accept both the complexity of people and of life, which begins with accepting your own reality.

Character Analysis

The protagonist of Così , Lewis is a new university graduate who has agreed to direct a play cast with patients from a mental institution because he needs money. At first, Lewis shares the same values as his friends Nick and Lucy -  that love is ‘not so important’ in the days of politics and war. During the time he spends with the patients, however, Lewis experiences a turning point in his understanding and perception of people. By the end of the play, Lewis learns to value love and friendship over war and politics, even stating that ‘without love, the world wouldn’t mean as much’. In emphasising the development of Lewis’ values away from the social norm, Nowra highlights the confining nature of society and the danger of its limited focus, which fails to recognise the value of love and companionship. 

Additionally, Nowra blurs the lines between insanity and sanity by portraying Lewis as a bridge between the ‘real’ world and that of the asylum. At the beginning of the play, Lewis states that his grandmother was in an asylum. However, despite knowing that ‘she had gone mad’, he reflects that ‘she was still [his] grandmother.’ This, alongside his passion for Julie, enables Lewis to see the patients as people, not their illnesses. Therefore, he subconsciously allows himself to be influenced by them, just as he influences them. This contradicts the traditional views surrounding the unproductivity of the mentally ill and instead highlights their value and worth. Therefore, Nowra warns against dismissing individuals who are mentally ill, instead highlighting their capacity to garner change and therefore be productive and valuable members of society.

Moreover, not only is Lewis involved in directing Così Fan Tutte, but he also finds himself playing the part of Fernando. This again further reinforces his role as a bridge between society and the asylum (and his connection to its patients), and he ends up embodying the role. Like Fernando, Lewis is unfaithful to his partner. While still in a relationship with his girlfriend Lucy, Lewis becomes intimate with a patient, Julie. Nowra uses his unfaithfulness as evidence of the indiscriminate nature of infidelity – it is not restricted only to women.

Finally, Così explores how Lewis deals with a hardship that he essentially created for himself – he signed up to direct the play. This links to Nowra’s view of the senselessness of war , which he views as a problem that mankind has created for themselves.

Girlfriend and roommate of Lewis, Lucy cannot understand why Lewis is directing a play about love when thousands are dying in the war. She has an affair with Nick, who shares similar beliefs – that politics and the Vietnam War protest are more important than anything else. The flippant nature with which she regards her affair with Nick as purely sexual is also reflective of her lack of value towards love. Thus, Nowra portrays Lucy as a personification of the societal norms of the 1970s – she is political, into free love and challenges traditional notions of femininity.

Furthermore, it is ironic that Lucy and Lewis have similar names. At the start of the play, Lewis allows himself to be influenced by Lucy’s values rather than his own, but by the end, Lewis’ true views prove to be very different from hers. 

Lucy also acts as a catalyst for Lewis’ change and development . She pushes him to ‘make a choice’ between the world of insanity and fidelity that represents truth for Lewis, or the world of sanity, free love and politics that Lewis comes to view as restrictive and stifling.

An experienced student director, roommate and friend of Lewis who is heavily involved in the moratorium (a protest against the Vietnam War). He promises to help Lewis direct Così Fan Tutte , however he quickly breaks this vow in order to spend time furthering his political career with Lucy. Lewis later discovers that Lucy and Nick are having an affair. Unlike Lewis, however, Nick views his relationship with Lucy as ‘only sex’, therefore suggesting his superficiality and lack of compassion . 

This superficiality is further shown through his obsession with the moratorium and his disinterest in Lewis’ Così Fan Tutte. He criticises Lewis for prioritising theatre over politics, stating that ‘only mad people in this day and age would do a work about love and infidelity.’ This suggests that what drives Nick is a desire to be seen doing the ‘normal’ and ‘right’ things, rather than an intrinsic belief that what he is doing is good. He views life as a series of transactions and values activities based on the immediate benefit that they bring him. For example, he admitted to helping Lewis with his direction only ‘so [Lewis would] help [him] on the moratorium committee’.  

Overall, Nick lives up to his label of being an ‘egotistical pig’ who ‘likes the sound of his own voice’. He is used by Nowra as a benchmark with which Lewis’ development is compared (i.e. we can see how much Lewis has developed by comparing him to Nick). For example, at the start of the play Lewis shares similar superficial values to Nick, admitting to only take the directing job for a bit of money; however, by the end of Così, he holds vastly different views than Nick.

By the way, to download a PDF version of this blog for printing or offline use, click here !

Fidelity & Infidelity

According to Mozart’s Così Fan Tutte, fidelity is depicted as an ideal that is never achieved. Since ‘women are like that’ – the interpretation of ‘ Così fan tutte’ , Mozart supported the belief that men should simply accept that women will inevitably be disloyal in relationships. Nowra echoes this view of women through Lewis and Lucy’s relationship. While Lucy is ‘sleeping’ with Lewis, she is also triflingly ‘having sex’ with Nick. When Lewis discovers Lucy’s betrayal, she waves aside his shock, defending herself, ‘it is not as if we’re married.’ The revelation thus does prove Mozart right, that ‘woman’s constancy is like the Arabian Phoenix. Everyone swears it exists, but no one has seen it.’

Although the women in both Così Fan Tutte and Così are shown to be unfaithful, so are the men. While the men in Così Fan Tutte do not actively participate in adultery, they do fabricate their departure to the war and also disguise themselves as ‘Albanians.’ Their deception is also a betrayal to their wives. Meanwhile, Don Alfonso manipulates everyone. As seen in Così , Lewis is unfaithful to Lucy as he kisses Julie during rehearsals. Julie later reveals that she has a girlfriend who she would prefer to be with, confirming that both men and women are unfaithful in relationships, despite whatever values they may claim to have.

Nowra considers many perspectives of love and fidelity, without offering a definitive opinion. Instead, he explores the progression (or stagnation) of characters’ opinions on love and contrasts them to those of other characters, in the hope of highlighting its complexity . Nick and Lucy both view love as an indulgence that is incompatible with politics and secondary to life’s basic needs. Whereas Lewis claims, ‘without love, the world wouldn’t mean that much’. These differences between Nick and Lucy’s view on love and Lewis’, are major contributors to the deterioration of their relationships. Therefore, Nowra shows that communication and truthfulness are needed for healthy, and reciprocal, relationships.

Overall, while Così Fan Tutte presents love and fidelity as wavering, Nowra provides a more practical view of love. Nowra suggests that love is complex and cannot be fully understood or tamed , instead portraying it as akin to madness . As love is universal, this view ties in nicely with his non-judgmental perspective on madness and insanity.

Sanity & Insanity

The line between sanity and insanity is explored through the juxtaposition of the patients and society. In the 1970s, those who behaved abnormally were declared to be ‘insane’ and placed in mental institutions that were shunned by society. As scientific developments have now informed us, these environments often failed to assist their patients. The use of electric shock therapy, for example, frequently led to severe, long-term negative effects upon patients.

While the patients were viewed as ‘madmen’ by outsiders, Lewis soon discovers that they are, in many ways, ordinary people. Although each patient has a mental flaw, all possess interesting opinions and beliefs on different matters. Additionally, Nowra encourages his readers to view insanity as more complex than a diagnosis or something that can be fixed with a ‘coat of paint’. Instead, he suggests that insanity is imposed on people through the judgment of others .

Nowra also attempts to blur the lines between sanity and insanity to emphasize the indiscriminate nature of madness. This is seen through Lewis’ character, who consistently bridges the gap between madness and normalcy. For example, despite his ‘sane’ status, he is mistaken for a patient by Justin, joins Roy in imitating electric shock therapy, replaces Doug in the play, and stands with the patients against Justin.

Overall, Nowra portrays insanity as a matter of perspective , rather than an objective diagnosis. He refuses to define madness, instead depicting it as somewhere on the spectrum of human behaviour. In doing so, he critisises traditional perspectives of sanity and insanity and instead encourages his audiences to consider the complexity of madness. 

Reality & Illusion

The question of what is real or an illusion is weaved through the patients’ state of mentality. As shown through Ruth who struggles to pretend like she is having real coffee on stage, it is difficult for some to distinguish reality from illusion , even if it is clear to everyone else. For others, they may willingly refuse the truth and succumb to an illusion. Lewis deluded himself into believing that Lucy was faithful, when all signs (such as Nick residing in the same home and Nick and Lucy spending time together) indicated that Lucy was, in fact, blatantly disloyal. Much like Lewis’ protective delusion, Roy uses illusions of a happy childhood to shield him from facing his reality. This builds upon his tendencies to blame others for his behaviour – he is inherently unable to face the truth of his ‘insanity’ and so manipulates his reality to make it more bearable. 

Throughout Così, Nowra also explores the relativity of reality . For the patients of the asylum, pretending to give electric shock therapy to others ‘seems realer’ than ‘kissing and stuff’, whereas the opposite would be true in ‘ordinary’ society. However, Così also suggests that imagination has the capacity to empower . Through participating in the play, which is an illusory form of reality, the patients are able to explore their views on love and commitment.

Ultimately, the behaviour of characters such as Roy and Ruth encourages us to consider the reliability (or unreliability) of our own perceptions . Alongside this, Nowra stresses the importance of being able to accept your own reality , as he shows that characters who fail to do so, also fail to experience personal growth (e.g. Roy, Julie).

Burnt-Out Theatre

The setting of a burnt-out theatre depicts the miserable environment in which the patients of mental institutions are forced to live. As they are ostracised by the community, a lack of care and support is shown through the rejected and deteriorating theatre. The patients’ considerable enthusiasm highlights their unfortunate circumstances, since even a chance to spend their time in an old building performing a play causes much excitement.

Although we see the theatre being touched up with new lights and a ‘coat of paint’, it still remains derelict and run-down. Nowra uses this to symbolise the futility of surface-level treatments (such as medication and isolation) of mental illnesses, and how we should instead focus on seeing the person behind the illness.

However, Nowra also uses the theatre as a symbol of hope. Despite its desolation, it is in the theatre that Lewis feels safe to grow and develop . Additionally, Julie and Lewis’ kiss takes place on the theatre’s stage. The kiss itself represents Lewis becoming more comfortable with himself and his increasingly counter-cultural views.

Arabian Phoenix

The women in both Così Fan Tutte and Così are compared with the Arabian Phoenix. The mythical creature is a representation of women, beautiful and enchanting, capturing men such as the god Apollo with its voice. This reflects the power of women to attract men. Nevertheless, its rarity, as often commented on in Così , is linked with the seemingly infrequent loyalty demonstrated by women .

The frequent reference to the Arabian Phoenix throughout Così continually reinforces the play’s misogynistic undertone . Its rarity is likened to the absence of women’s fidelity, yet never male fidelity. Similarly, Nowra invites his audience to condemn Lucy’s unfaithfulness towards Lewis, yet we are not encouraged to feel the same way about Lewis’ unfaithfulness to Lucy.  

Light and Dark

The lights in Act 1, Scene 1 highlight Lewis’ entrance into a new world , where he befriends patients who will ultimately help him to learn and develop. At first Lewis, much like Lucy and Nick, possesses a ‘pitch black’ perspective of the world. This is a representation of their modern beliefs that circulate around politics and war. When the lights are turned on, Roy is present, demonstrating that the patients of the mental institutions are the source for Lewis’ changing perspective throughout the play. Nowra also uses the lights to represent the hope for change that Lewis brings to the patients, and vice versa.

Light is also used to directly juxtapose the chaos and desperation that darkness brings. Before Lewis entered the theatre, it was dark and derelict, symbolising the abandonment and hopelessness of the asylum’s patients. This desperation is viewed in another light during Julie and Lewis’ kiss (which takes place in the dark). In this instance, their desire for each other and the chaos that ensues is liberating for Lewis, as it enables him to come to terms with what he truly values.

However, Julie notes that the wards are ‘never really dark’ as ‘there’s always a light on in the corridor.’ In this sense, darkness symbolises autonomy and freedom , whereas light represents the constant monitoring and scrutinising that the patients are subjected to.

Essay Topics

1. Così contends that some things are more important than politics.

2. In Così, the ‘insane’ characters are quite normal.

3. The line between reality and illusion is often blurred.

4. Ironically, it is through the ‘madmen’ that Lewis learns what is truly important.

5. Nick and Lucy’s ‘modern’ value of free love is depicted to be a backwards belief. Discuss.

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

Essay Topic Breakdown

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

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

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Character-Based Prompt: It is not only Lewis who develops in Così , but other characters as well. Discuss.

Step 1: analyse.

Simply spot a character’s name and there you have it, it’s a character-based prompt. However, it’s important to recognise that your essay does not need to revolve around only the character(s) in the prompt but should also incorporate discussion of other major and minor characters as well. 

In this topic, it is important to incorporate other characters, such as the patients, into your essay, because they are crucial to Lewis’ development. To ensure that you stay on topic, it is best to include a paragraph (or paragraphs) that explore characters other than Lewis and their development. Also try and focus on different areas/types of development (i.e. not just Lewis’ changing values). 

Highlight Key Words :

It is not only Lewis who develops in Così , but other characters as well. 

Find Synonyms:

• Develops: learns, grows, changes, flourishes, progresses, matures 

Step 2: Brainstorm

• Così explores the development/growth of multiple characters, including Lewis. 
• Lewis is the central catalyst that enables other character’s development to be seen (such as Ruth’s and Zac’s) 
• However, we also see characters who fail to develop. This is either because they fail to accept their own reality (Roy) or they fail to accept the errors in their thinking (Lucy, Nick) 
• Nowra also uses Lewis as the benchmark against which the development of other characters is measured. For example, Nick’s lack of development is highlighted through comparing his stagnation/unchanging ways to Lewis’ growth. 
• Lewis’ development is facilitated by the patients. Nowra uses this to suggest the productivity of the mentally ill and challenge traditional stereotypes that label them as incapable. 
• Through Lewis’ development, Nowra highlights the falsity in societal stereotypes of the mentally ill (i.e. Lewis’s views change from being discriminatory and stereotypical to more compassionate, and well founded.) 
• Imagery and symbolism are used to represent development and growth (fire and water) as well as Lewis’ catalytic nature (light and dark). 

Step 3: Create a Plan 

Contention: Nowra encourages his audience to reconsider their perspective on the mentally ill by highlighting their capacity to not only change themselves, but enact change in others.

Topic Sentence 1: Through his exploration of Lewis’ changing ideals during Così , Nowra attempts to highlight the value of companionship and productivity of the mentally ill, which act to increase Lewis’ confidence when faced with adversity.

Examples: Lewis’ changing ideas on love and fidelity, Lewis’ changing levels of subservience to Lucy and Nick 

Evidence:  

"Not so important."

"Without love, the world wouldn’t mean as much."

"They are coming to take me away, ha, ha."

"Not sing that."

"I said, don’t sing that song."

Linking Sentence(s): In contrasting Lewis’ meekness to his boldness, Nowra alludes to the personal benefits that personal growth can have. Additionally, he ultimately encourages his audience to view Lewis’ learning as evidence against the common notion of the unproductivity of the mentally ill, as we see Lewis’ development flourish during his time at the asylum.

Topic Sentence 2: Moreover, throughout Così we see Lewis develop a greater understanding of the complexity of madness due to his partnership with the patients. 

Examples: Lewis’ changing perspective of the patients, Lewis’ involvement with the patients beyond his role as director, fire and water imagery 

"Uncertain."

"Will go bezerk without their medication."

"Unable to believe he has found himself caught up in [directing]."

"Water drip[ping] though the hole in the roof."

Linking Sentence: Ultimately, through highlighting the development of Lewis’ views towards insanity, Nowra positions his audience to reflect on the complexity of madness and thus warns of the danger of stereotypes.

Topic Sentence 3: Furthermore, as an outsider, Lewis assists the patients in their development, acting as their connection to the real world and ultimately providing a space for them to grow and flourish. 

Examples: Juxtaposition of light and dark, Ruth’s development. 

"Chink of light."

"Burnt out theatre."

"Real coffee."

"Real cappuccino machine."

"Wasn’t [her], it was the character."

"Time and motion expert."

Linking Sentence: Ultimately, Nowra explores the learning and growth of characters in Così to not only highlight the necessity of a humanistic approach to treating mental illness, but also to illustrate the nature of mental health as a continuum, on which no one person needs to be stationary forever. ‍

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

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How To Write A Killer Text Response Study Guide

How to embed quotes in your essay like a boss

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

5 Tips for a mic drop worthy essay conclusion ‍

Updated on 11/12/2020

‍ Nine Days by Toni Jordan is currently studied in VCE English under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

• Main Characters
• Themes, Ideas and Values
• Literary Devices
• Essay Topics  

1. Summary  

Jordan’s novel traces the tumultuous lives of the Westaway family and their neighbours through four generations as they struggle through World War II (1939-45), the postwar period of the late 1940s and 50s, the 1990s and the early 2000s. Composed of nine chapters and subsequently nine unique perspectives of life, their family home in Rowena Parade, Richmond, becomes the focal point for Jordan’s exploration of femininity, masculinity, family and Australian society. ‍

2. Main Characters

Kip westaway.

'Mr. Husting always says first impressions count' (p. 5)

'Mr. Husting holds his other hand out flat and instead of an apple there’s a shilling.' (p. 6)

'I own the lanes, mostly. I know the web of them, every lane in Richmond.' (p. 21)

'When they put me in the grave, I know what it’ll say on the stone, if I get a stone, if they don’t bury me like a stray cat at the tip' (p. 29)

'I didn’t say goodbye to Dad! On account of a book' (p. 158)

'This photo won’t be out of my sight from now on. You’ve given me my sister back, Alec.' (p. 260)

Francis Westaway

'THE SHADOW CANNOT BE DEFEATED!' (p. 145)

'The toughest gang in Richmond! And they want me, Francis Westaway!' (p. 155)

'I see a purple jewel hanging on a gold chain. It’s a beaut, the prettiest thing I’ve ever seen…There’s no way I’m sharing this. It’s mine.' (p. 174)

'Do you understand how sensitive a reputation is? It’s up to me to be respectable. I’m the eldest. It’s my responsibility.' (p. 200)  

Connie Westaway

'Ma sitting with her dress lifted up to her face, Connie on her knees beside her, holding her arms, cooing soft like Ma is a baby.' (Kip, p. 35)

'We women do what’s expected. You [men] can do almost anything you care to think of.' (p. 280)

'It seems that all my life I’ve had nothing I’ve desired and I’ve given up having desire at all. Now I know what it feels like to want and I will give anything to have it' (p. 285)

'I thought we’d have more time than this. We’ve only just made it.' (p. 290)  

Jean Westaway

'Those moments, when [Kip] reminds me of Tom. I have to leave the room. The fury rises up my legs and up my body like a scream and it’s all I can do not to let it out.' (p. 212)

'We all die alone' (p. 212)

'This is not how I imagined it to be. Children. Mothering.' (p. 212)

'And for things like this, for girls like Connie and saving her future, there is a respectable woman who runs a business in Victoria Street' (pp. 221-222)

'I’d never of done it with boys but Connie, she was different.' (p. 239)

'we’re respectable people.' (p. 218)

Tom Westaway

‘Kipper’s old man…dropped off the tram in Swan Street somewhat worse for a whiskey or three and hit his head. Blam, splashed his brains all over the road. A sad end.’ (Pike, p. 24)

‘As a girl I had plenty of suitors, but none like Tom. Best behaviour in front of my father, children all brought up in the church by him.’ (p. 212)

Stanzi Westaway

‘The parcel is for Stanzi: inside is an old-fashioned coin, dull silver, with a king’s head on one side. It has a silver chain threaded through a hole in the middle. Stanzi looks like she’s about to cry.’ (Alec, p. 254)

‘She doesn’t mean to be hurtful. She is worries for me, that’s all…if she really thought I was in terrible trouble, she would be gentler.’ (Charlotte about Stanzi, p. 126)

‘the oblivious insouciance of the entitled’ (p. 51)

Charlotte Westaway

‘I say the question over and over: should I keep the baby?’ (p. 142)

‘The herbs are evidence of an understanding of our place in the universe…an acknowledgement of the delicate balance in our bodies…’ (p. 116)

‘There was only one place I could go: my sister’s’ (p. 124)

‘They contain all the hopes of the human spirit, all the refusal to quit, to keep believing people can feel better’ (p. 116)  

Alec Westaway

‘Yet here I am. Away from home in a world of strangers. Alone. Forgotten.’ (p. 241)

‘This waiting for my life to start, it’s driving me mental.’ (p. 244)

‘I don’t sketch. Instead I concentrate on the scene the scene in front of me so I can remember it later.’ (p. 251)

Libby Westaway

‘All the things I remember, everything about my life, our family, my childhood: it’s all real because Libby knows it too.’ (Alec, p. 273)

Jack Husting

‘I can see both sides.’ (p. 80)

‘Just let me kiss you, Connie. I’d die a happy man.’ (p. 284)

Ava and Sylvester Husting

‘If we have to send boys to fight…it’s layabout boys with no responsibilities, the Kip Westaways of the world, who ought to be going.’ (Ava, p. 102)

‘That shilling. Our little secret. Gentlemen’s honour.’ (Sylvester, p. 8)

Annabel Crouch

‘You’re a good girl, Annabel.’ (Mr. Crouch, p. 177)

‘I’d like to compliment their dresses, but I don’t know what to say.’ (p. 190)

‘He is killing himself, I know that. I won’t have him for much longer.’ (Annabel, p. 207)

‘No mother, no brothers. Working your youth away, looking after an old man.’ (p. 179)

‍ 3. Themes, Ideas and Values

‘Family house, family suburb, family man’ (Charlotte about Kip, p. 140)

‘Stuck here…looking after your old man. You should have a family of your own by now.’ (Mr. crouch to Annabel, pp. 178-179)

The theme of family is a recurring one that develops over time. Jordan’s inclusion of other families such as the Crouches, the Churches, the McCarthys and the Stewarts stands in contrast to the Westaways. The juxtaposition of family life in this way allows the reader to see how such factors like wealth, class and reputation can affect the family dynamic especially within the war period. The idea of family is strained by the pressures of war because with many families' sons and husbands away it left the other family members to adopt other roles - not only physically, but the conventional emotional roles of traditional families of the time are redistributed, specifically within the Westaway household. Jordan postulates that the role family plays in providing emotional/physical support is of far greater importance than the necessity to abide by society's idea of what family should look like.  

Women and Reproductive Rights

‘I tell her about shame and the way it’s always the women who wear it. I spare her nothing. I say loose women and no morals and I say bastard and I say slut.’ (Jean, p. 220)

‘You don’t have to have it, you know.’ (Stanzi, p. 132)

‘Your body, your choice…That’s what our feminist foremothers fought for’ (p. 134)

‘What if he wanted to know his child, doesn’t he have the right?’ (pp. 133-134)

Jordan highlights the controversial issues of premarital sex, abortion and the rights of women within the mid 20th and early 21st century. Indeed, it is this theme of women that becomes inextricably linked with the effect of a damaged reputation. When Connie falls pregnant, Jean implores that she has an abortion, in secret of course, in order to preserve her and her family’s reputation within the small community. The issue of abortion is later revisited when Charlotte becomes pregnant in the 1990s, where the contrast between the time periods becomes evident; while unplanned pregnancy is greatly stigmatised in the 1940s, the 1990s offers Charlotte a far wider array of options. It is through Jordan’s depiction of the two cases – Connie’s horrific backyard abortion, and Charlotte’s adjustment to parenthood – that she suggests the perceptions and attitudes towards morality, reputation and women have shifted over time, emphasising the importance of reproductive rights in the development of women.

Masculinity

‘I remember coming home from school once, crying. I would have been around six or seven. I was picked last for some team. That was me, the kid without a father.’ (Alec, p. 262)

‘”Westaway,” Cooper says. “Get in. For once in your life, do not be a pussy.”’ (p. 267)

Within the parameters of her text, Jordan articulates how men conform or reject masculine tropes in an effort to fit into society. Toughness, bulling and unsavory activity are presented as the characteristics of a man through such depictions of Mac and his gang. In its connection to the war period, the novel partly focuses on the notion that in order to be classified as a man he must first go through struggle and hardship as presented in the group of strangers taunting Jack, ultimately bullying him into certain ideals of masculinity which prove toxic and consequential - Jack dies as a result. It is Jordan who advocates for a balanced personality of both ‘masculine’ and 'feminine’ characteristics as suggested in the character development of Kip; evolving, learning and devising a true meaning of what it means to be a man outside of its conventional brutality.

Attitudes Towards Asia

‘She is with a customer or sweeping the floor with a broom made from free-range straw that died of natural causes or singing Kumbaya to the wheatgrass so it is karmically aligned.’ (Stanzi, p. 50)

‘The fear of the Nips coming made him a better man.’ (Annabel, p. 178)

‘always wanted to go to India [to study yoga] at a proper ashram.’ (pp. 132-133)

‘She makes her eyes go big and round like some manga puppy’ (p. 264)

Through both overt and subtle language, Jordan makes reference to the attitudes towards Asia which were prevalent at the time, specifically within the war period that saw many Australians ‘[fearing] the nip’. The derogative slang used for the Japanese represents a lack of understanding and fear (the bombing of Darwin and attack on Sydney left many feeling particularly vulnerable to the Japanese). Exacerbated by the fact that Japanese culture was not widely understood and was often misrepresented, the Japanese were stereotyped as brutal and inhuman. Over the course of the novel, attitudes towards Asia dramatically shift especially within the early 1990s of Stanzi and Charlotte's generation. The philosophical ideas of the east are often referenced by characters like Charlotte as she draws on them to make sense of her own complex life. The novel sees another shift in ideology represented through Alec as his generation's perception turns to a more commercial view. Asian culture has earned a place in mainstream media and western life without such gruesome and violent connotations as were previously held during the time of World War II.

4. Literary Devices

• Throughout her perspective driven text, Jordan makes many references to classic novels which help create a literary context for the narrative and lend themselves to the evolution of the characters throughout the course of the text.
• Alexandre Dumas’ The Three Musketeers – Kip’s characteristic trait of heroism when he sees the gang waiting for him and says ‘on-bloody-guard, d’Artagnan’ (p. 22)
• Charles Dickens’ Great Expectations and Mark Twain’s Huckleberry Finn – both coming-of-age stories about young men struggling within a tough world, only getting by on their wits and strength.
• Brontë sisters' Jane Eyre and Wuthering Heights – their reference is used in discerning a customer’s knowledge on the texts, but reveals only a surface level understanding due to the novels carrying a certain cultural value.
• Jonathan Swift’s Gulliver’s Travels – referenced by Jack Husting in relation to his adventures in the country. Its use pertains to how Jack feels out of place in his home town after leaving a boy and returning a grown man.
• A historical novel that plays with ideas of placing invented characters into a reconstructed world of the past.
• Uses elements of both realism and impressionism to create the text.

Realist Elements:

• A strong focus on everyday life within a particular society with reference to real historical detail.
• Incorporates a logical and strong foundation of context that can be easily digested and believed by the reader.
• Can use an omniscient narrator (all-knowing).

Impressionist Elements:

• Each chapter offers detail and presents a vivid interpretation of specific events.
• Sensory experiences are emphasised by the use of descriptive and poetic language.
• The linear flow of the narrative is disrupted by its construction in a non-chronological order, thereby forcing the reader to piece the whole narrative together at the end.
• Varied depending on the character’s perspective and time of perspective.
• Language is used to historicise each chapter through use of slang, colloquialisms, formal and proper English.
• The novel revolves around the Westaway’s family home in Rowena Parade, Richmond over the course of four generations.
• Rather than them move or the location change it evolves, paralleling the growth and evolution undergone by each of the Westaway family members.
• Inspired by a photograph in the collection of Argus war photos held at the State Library of Victoria, Jordan uses this image capturing a private and intimate moment to establish the premise for each of the book's chapters.
• Titled Nine Days and composed of nine unique perspectives on life at a given time, Jordan offers insight into the emotional livelihood of each narrator and attaches both intimate and historical significance to their stories. ‍

5. Essay Topics

• Toni Jordan’s Nine Days describes a world in which life in the 1930s and 40s was much harder than life in the 21st century. Do you agree?
• In Nine Days , older Kip’s point of view is very unrealistic. To what extent do you agree?
• Toni Jordan’s Nine Days shows us people can choose whether they end up happy or not. Discuss.
• The mood by the end of Nine Days is ultimately uplifting and positive. Do you agree?
• There is more tragedy in Nine Days than there is joy. To what extent do you agree? ‍
• Nine Days , by Toni Jordan, shows the best and worst of Australian culture. Discuss
• Jordan suggests that appreciation of family is integral to personal happiness. Discuss.
• 'Your body, your choice.' What do the different experiences of Connie and Charlotte reveal about changing societal attitudes towards women?
• There are many characters who are largely hidden figures within the text. What significance is produced by including and excluding different perspectives?

6. Essay Topic Breakdown

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy - a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response because it’ll dramatically enhance how much you can take away from the following essays and more importantly, your ability to apply this strategy in your own writing.

‍ 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

‍ THINK How-based prompt: How does Nine Days explore the relationship between the past and the present ?

This is a ‘how’ essay prompt, so in our planning, we need to identify the ways in which the author accomplishes their task. When analysing your question it is important to know what the question is asking of you, so make sure you highlight the keywords and understand their meaning by themselves and in the context of the question. For example, this question is not just asking about the past and present, but rather the connection between the two - so if you discussed the past and the present separately you wouldn’t be answering the question.

Brainstorming is different for everyone, but what works for me is focusing on the key idea, which here would be the relationship between the past and the present, and listing my thoughts out. Not all the ideas will be as equally relevant/good, but I like to have things written down to then improve or simply not use in favour of other ideas.

Past → Present: Westaway family home, the house changes as the family grows Past → Present: Connie’s tragic abortion compared to Charlotte’s options in the 1990s, women’s rights evolving over time Past → Present: Melbourne becoming more multicultural, Alec’s chapter reveals how Melbourne has changed compared to chapters set in earlier times Past → Present: Kip teaching Alec to cherish those in front of us after seeing Connie’s picture Past → Present: Second World War contrast to 9/11 and war in Afghanistan

Now that I have all my ideas listed out I choose my strongest three to flesh out. There are different things that make an idea strong, but the things I consider are: - Do I have enough evidence to support this idea? - Is the idea substantial enough to turn into a whole paragraph? - Do I have an author’s views and values statement? - Can I include context or metalanguage into this idea?

Using the questions above, I decided to use the following ideas: - Westaway family home, the house changes as the family grows (symbolism) - Kip teaching Alec to cherish those in front of them (focus on characterisation) - Melbourne becoming more multicultural (can talk about historical context)

Step 3: Create a Plan

Contention: Through the use of setting and characterisation, Jordan’s Nine Days reveals how the past and present are interconnected. P1: Westaway home embodying the familial connection P2: The past is not completely separate from the present, it teaches us lessons that are pertinent to contemporary life (Alec) P3: Melbourne becoming more multicultural

If you found this helpful, then you might want to check out our A Killer Text Guide: Nine Days ebook which has an A+ sample essay in response to this prompt, complete with annotations on HOW and WHY the essay achieved A+! The study guide also includes 4 more essay topic breakdowns and sample A+ essays, detailed analysis AND a comprehensive explanation of LSG’s unique BBT strategy to elevate your writing!

To elaborate further on the example using Macbeth and Animal Farm:

Avoid simply drawing connections between the texts which are immediately obvious. It is clear that both Napoleon and Macbeth are powerful leaders. The questions below start to delve into a more insightful comparison between the two men (comparative words are  bolded ):

Macbeth and Animal Farm: common theme = power

How do they achieve power?

In  Animal Farm , Napoleon is sly about his intentions and slowly secures his power with clever manipulation and propaganda.  However , Shakespeare’s Macbeth adopts very different methods as he uses violence and abuse to secure his power.

How do they maintain power?

Both  Napoleon and Macbeth are tyrants who go to great length to protect their power. They believe in killing or chasing away anyone who undermines their power.

What is the effect of power on the two characters?

While   Macbeth  concentrates on Macbeth’s growing guilty conscience and his gradual deterioration to insanity,  Animal Farm  offers no insight into Napoleon’s stream of consciousness.  Instead , George Orwell focuses on the pain and suffering of the animals under Napoleon’s reign. This highlights Shakespeare’s desire to focus on the inner conflict of a man,  whereas  Orwell depicted the repercussions of a totalitarian regime on those under its ruling.

For one of most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative.

How can we write about a film in a way that shows our knowledge of its complexity in the way it conveys ideas through visuals and sound?  

While this blog post focuses on the construction of Invictus , the concepts around analysing film and writing about it apply to all other Year 11 and 12 multimodal texts. If you are studying Ransom with Invictus for the Comparative component of VCE English, you may also find out Ransom and Invictus study guide helpful.

What contrasts Invictus from Ransom , is, of course, that we can see Clint Eastwood’s depictions of post-Apartheid South Africa through his visualisations of, for instance, characters emotions and behaviours, by the formation of cinematic techniques. We can see the divided community in which the narrative is set; involving the rift between Afrikaners and black South Africans.  The added challenge of writing about a multimodal text such as Invictus , is that its composition through these film techniques should be integrated as textual evidence in a cohesive and effective way.  

Some key study design points:

• ‍ “The features of written, spoken and multimodal texts used by authors to convey ideas, issues and themes.”
• “The ways in which different texts provide different perspectives on ideas, issues and themes and how comparing them can offer an enriched understanding of the ideas, issues and themes.”
• “Use textual evidence appropriately to support comparative analysis.”

A good way to approach analysis of textual evidence is through looking at quotes.  However, to further show our understanding of the text is perhaps to discuss the context of these quotes; examining what the director is showing us along with this dialogue.  What are the expressions portrayed by the characters? What does the framing reveal to us about the characters, symbols or the setting? What is Eastwood wanting us to understand about the narrative through the combination of these techniques? By asking these questions we can try to grasp what the intentions of the director are.

Some key film techniques to think about may be camera framings/angles, acting, lighting, editing, mise en scène, symbols, etc. (see terminology at the end of this blog).

Analysing a frame

A useful idea might be to go through the film multiple times, pause at certain moments and note what you can both see and hear. Turn on the subtitles to help decipher the dialogue – note these quotes down.  It may also be worthwhile to read through the actual script to Invictus ; from this we can learn of the intentions of Eastwood from a different perspective – in what he wanted to show his audience in each scene.

For example: ‍

INT. SPRINGBOK DRESSING ROOM - DAY                        

         The sound of cleats approaching on concrete. Exhausted

         footsteps. The DRESSING ROOM ATTENDANT PUTS CASES OF BEER

         (cans) on a side table, rips them open, backs away --

         -- as the Springboks enter silently, faces miserable,

         shoulders slumped. They've lost another game.

What is the setting? What can we see happening in this setting? Who is there? What are the behaviours and expressions of the characters? What does the type of camerawork tell us? What does the lighting and colour tell us? These might be some questions to consider.

MANDELA ENTERS LOFTUS VERSFELD STADIUM AS NEW PRESIDENT

In this scene, Eastwood utilises wide, high angle framing to represent the enormity of the stadium; filled with Afrikaners who, predominantly, detest the new President.  Still, even as the framing is constantly filled with these Springboks sports fans, the director shows us the smiling, confident Mandela, who warmly waves to his new ‘partners in democracy’ without fear or distaste.  We can see this as the camera draws in on Mandela’s facial expressions.  Moreover, the courage of Mandela is exhibited as he exits the stadium and a sports fan hurls a drink at him.  Even despite that he ‘sees everything’, Mandela continues to wave and smile at the crowd.  

MANDELA ENTERS ELLIS PARK STADIUM FOR WORLD CUP FINAL

On the other hand, this scene, whilst it continues to demonstrate the steadfast, affable nature of Mandela, shows the unification of South Africa.  Through Mandela’s support of the Springboks by wearing the green and gold, we can understand that the Springboks have subsided from once being a ‘prominent symbol of the apartheid era’.  By contrast to his first appearance, Mandela is now upheld as a leader to all; there is no jeering or booing, but lively backing of both the Boks and The President.  Mandela has fundamentally transformed the team who once brought ‘shame upon our nation’ into something to be proud of and excited for.

The camera pans around the stadium depicting cheering and applauding fans, who are even carrying the new South African flag.  Even more interestingly, the black South Africans who widely scorned the Springboks, are now watching the rugby final in support of their team; their country.

‍JASON AND HIS TEAM MEET THE NEW BODYGUARDS

Eastwood utilises tight, close-up framing in this scene as to allude to the confrontation between black and white South Africans.  By this, the director draws us in to the agitated, bemused expressions on Jason and Linga, who immediately clash with the new SAS bodyguards they must partner with.  Jason stresses the personal bond between his team and the President – ‘[Madiba] that’s what we call him’.  This immediately shows the distaste that the black South Africans have towards their ‘enemies’, the Afrikaners.

Madiba implores that ‘reconciliation starts here’ and ‘forgiveness starts here’; Mandela assembles this new team of bodyguards because they are his representatives and ambassadors.  He wants the ‘rainbow nation’ to start here.

Writing an analysis

Once we understand what’s happening in some important scenes, we can think about how this understanding can be implemented into pieces of writing.

Consider the quotes: ‘Pienaar’s team’, ‘shame upon our nation’, ‘somebody gets the axe’ and ‘tails between their legs’.  This is what TV host, Boland Botha, and the rugby president, say after the Boks perform poorly in their rugby match.  Accompanying this scene are close-ups of Francois Pienaar, who is made to be the blame for the momentous loss.  

We could approach an analysis of this by embedding quotes amongst a discussion of the cinematic techniques; explaining what we learn about the character of Pienaar through these.  By including both quotes and some context in the cinematic construction, it displays a clear knowledge and understanding.

For instance, we could write:

“Eastwood demonstrates Pienaar as a prominent leader in the Springbok team.  He is made out to be responsible for ‘[his] team’s’ dismal performance.  Tight, close-up framing shows the audience a defeated Pienaar, a captain and leader who has brought ‘shame upon’ the South African nation, and as the rugby president suggests, deserves to ‘get the axe’.  The harsh, low-key lighting of the frame draws in on the raked and bruised Pienaar, who is isolated as the key to the Boks having ‘their tails between their legs’ throughout the game.”

Have a go at analysing the film and finding a way to balance embedded quotes with examples of the director’s techniques.

All in all, while it is not crucial to talk about specific production techniques as such, it can help give you an edge in demonstrating that you know the ins and outs of the text.  It helps show your comprehension of the context, themes and ideas presented, which is key to exemplifying a capacity to perceive authorial intent.  

Some useful terminology

Camera shots/techniques:

• Shots: extreme long shot/long shot, medium shot, close-up shot/extreme close-up
• Establishing shots: first shot of a new scene, shows the audience where the scene is taking place.
• Depth of field: distance between closest and furthest objects giving a focused image. 

Camera angles:

• Bird’s-eye view, low angle, eye-level, high angle
• Skewed angle: camera set on an angle (horizon line is not parallel with the bottom of the frame)

Camera movements:  

• Zooming, panning/tilting, tracking, hand-held

Mise en Scene: the arrangement of a frame; the artistic look of a shot in its elements of lighting, colour, camera techniques, sets, costumes, etc.

Lighting: high-key (bright, low shadow and contrast) or low-key (underlit, strong contrast between light and dark)

Point-of-view: the perspective from which the text is portrayed; the audience are driven to identify with characters portrayed.

Opening/resolution: how a narrative is introduced in setting up characters, settings, etc., how these develop and resolve at the end of a text.

Motif: a distinguishable feature which portrays a theme and idea about a character, setting, etc. ‍

For more information on film techniques, watch this video:

For a detailed list of film techniques, learn more here .

In your Language Analysis (or Analysing Argument) SAC, you will be required to analyse how language is used to persuade in three or more texts. While this may seem a bit daunting at first, it really isn’t much harder than a single text analysis once you know how to approach it. Of course, there are multiple ways to tackle this task, but here is just one possible method!

Introduction:

Begin with a sentence that briefly describes the incident that sparked the debate or the nature/context of the debate. Remember to use the background information already provided for you on the task book!

Next, introduce the texts one at a time, including the main aspects for each (eg. title, writer, source, form, tone, contention and target audience). You want to show the examiner that you are comparing the articles, rather than analysing them separately. To do this, use appropriate linking words as you move onto your outline of each new text.

Consider significant features for comparison, for example:

• Is the tone/style the same?
• Is there a different target audience?
• How do their key persuasive strategies differ?

You may choose to finish your introduction with a brief comment on any key difference or similarity.

Sample introduction: The recent return to vinyls and decline in CD sales has sparked discussion about the merits of the two forms of recorded sound. In his feature article, For the Record, published in the monthly magazine Audioworld in June 2015, Robert Tan contends that vinyls, as the more traditional form, are preferable to CDs. He utilises a disparaging tone within his article to criticise CDs as less functional than vinyls. In response to Tan’s article, reader Julie Parker uses a condescending and mocking tone to lampoon Tan for his point of view, in a letter published in the same magazine one month later.

Body paragraphs:

Block structure

Spend the first half of your essay focused on Article 1, then move into Article 2 for the second half of your essay (and, for those doing three articles, the later part of your essay based on Article 3). This structure is the most simple of all, and unfortunately does not offer you ample opportunity to delve into an insightful analysis. Hence, we would not recommend this structure for you. If possible, adopt the Bridge or Integrated structures discussed below.

Bridge structure

Analyse the first text, including any visuals that may accompany it. Students often spend too long on the first text and leave too little time to analyse the remaining texts in sufficient depth, so try to keep your analysis specific and concise! Remember to focus on the effects on the reader, rather than having a broad discussion of persuasive techniques.

Linking is essential in body paragraphs! Begin your analysis of each new text with a linking sentence to enable a smooth transition and to provide a specific point of contrast. Continue to link the texts throughout your analysis, for example, you could compare:

• The techniques of each writer and how these aim to position the reader in different ways.

Often your second and/or third texts will be a direct response to the first, so you could pick up on how the author rebuts or agrees with the arguments of the first text.

Integrated structure

In this type of structure, you will analyse both articles in each body paragraph.

For a detailed guide on Language Analysis including how to prepare for your SAC and exam, check out our Ultimate Guide to VCE Language Analysis .

If you'd like to see an in-depth explanation of these different essay structures with sample A+ annotated essays as examples, check out our How To Write A Killer Language Analysis ebook! This study guide includes heaps of other valuable content too, including the SIMPLICITY and SPECIFICITY strategy, which has helped hundreds of students achieve A+ in their assessments.

Conclusion:

In Lisa's videos above, she suggests a short and sweet summary in your conclusion by incorporating some quotes from the author's own conclusion. 

Alternatively, you could opt for a different approach. In your conclusion, aim to focus on how each text differs from the others in terms of the main techniques used by the author, and more importantly, the effect of these techniques on the reader or audience. You should summarise the main similarities and differences of each text without indicating any personal bias (ie. you should not state whether one text might be more or less persuasive than another). For example, a point of comparison could be the audience appeal - will any particular audience group be particularly engaged or offended? Why?

Finally, finish with a sentence suggesting a possible outlook for the issue.

Next Steps:

Watch our 'Language Analysis' playlist where Lisa analyses the VCAA 2016 exam over the span of 7 videos. From the first read all the way through to writing up the full essay, Lisa shows you step by step how you can improve your Language Analysis marks.

*This blog post was originally created by Christine Liu, with additions made by Lisa Tran to suit the new modifications in the English study design.

• Plot Summaries
• Textual Features Analysis
• Themes (Convergent and Divergent Strategy)
• LSG’s Bubble Tea (BBT) Strategy for Unique Strategies
• Sample Essay Questions

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

1. Plot Summaries

In Stasiland , Anna Funder, the author and first-person narrator , meets and listens to the ordinary people of East Germany : those who resisted the GDR dictatorship, those who were crushed by it, and those who diligently and remorselessly worked for it as Stasi informants or officers. As Anna speaks with those whose lives have been traumatised by the Stasi, she reflects on how the reunified Germany has dealt with (or ignored) its citizens' trauma and whether memory can be reconciled . Anna is an Australian working for a television station in Berlin in 1996. As an outsider Anna is uniquely positioned to ask East Germans about their experiences , as they do not have to battle with prior knowledge and experience to share their stories. She is interested in the former German Democratic Republic and what has happened to the East German people since the country reunified with West Germany. She became curious after learning that there are people putting together documents that were shredded by the Stasi.

Anna travels to Leipzig and visits the former headquarters of East Germany’s secret police, the Stasi, which is now a museum. The Stasi were the East German secret police and internal surveillance and defense force . Headed by Erich Mielke, they conducted surveillance on the East German population, aided by a vast number of civilian informants. While in Leipzig, Anna meets with a woman called Miriam Weber, who attempted to sneak out of East Germany when she was just a teenager. Miriam, sleep deprived and tortured, lied about receiving help from an organisation to cross the Wall and was sentenced to jail time. Her husband Charlie was also imprisoned by the Stasi and died while in custody. Miriam was told he committed suicide by hanging, but she suspects he was killed after the Stasi refused to show her his body and went to great lengths to hide Charlie during the funeral.

Returning to the apartment she rents in Berlin, Anna puts an advertisement in the paper calling for former Stasi agents and informers to share their stories with her. She meets with several ex-Stasi men, including Herr Winz, Herr Christian, Herr Bohnsack and Hagen Koch. She also visits and speaks to Karl-Eduard von Schitzler, a hateful man who hosted a propaganda-filled television program that criticised West Germany and gave false information about Communist success. In their discussions the former Stasi agents are concerned with justifying their involvement with the Stasi, although many also remain committed to communist ideals and await with anticipation the next revolution and restoration of the communist government.

Anna rents her apartment from an unpredictable and evasive young woman called Julia. Over time, Julia comes to trust Anna and shares her story of the Stasi cruelly interfering with her life. Anna also speaks with her rock musician friend Klaus Renft – East Germany’s Mick Jagger, and a woman named Frau Paul who was separated overnight from her sick infant son when the Berlin Wall went up and was later imprisoned for inflated charges of assisting people to escape East Germany.

After Anna’s mother is diagnosed with cancer, she goes home to Australia for 3 years, returning to Berlin to meet with some of the people she spoke with during her earlier stay, including Hagen Koch and Miriam. She also finally visits the ‘puzzlers’ in Nuremberg, whose story first sparked her interest in investigating the lives of East Germans affected by the Stasi. Anna is disappointed in the puzzlers, realising that their work is futile and there is no real effort put towards uncovering the lost information.

Almost all East Germans were left reeling at the sudden collapse of their government. For many, the collapse of the GDR took with it ideological security and made them nostalgic for the past. For others, being confronted with the level of the Stasi’s intrusion into their lives was deeply traumatic, as people realised they had been grievously betrayed by their fellow citizens, neighbours and even family members. The nostalgia for the regime that Funder witnesses shows how people cling to certainty and position and sometimes struggle with new freedoms. However, having spoken with so many individuals whose lives were ruined by the Stasi, Anna feels that the old regime was oppressive and authoritarian, and that the East Germans are better off with the challenges of their freedom, rather than stuck with the certainties of their oppression.

Never Let Me Go

Never Let Me Go is set in a dystopian alternative reality in England in the 1990s. The narrator, Kathy H, is a thirty-one-year-old 'carer' – a clone who looks after other clones who are donating their organs. Kathy is about to retire after a long career as a carer to become a donor herself, meaning she will soon 'complete' ( a euphemism for dying ). However, this premise is not immediately apparent to the reader . At the start of the novel, Kathy informs us she will be leaving her role as carer in a few months and has started to write down memories of her life, sorting through her time as a 'student' at Hailsham. However, at the start of the novel the reader is not aware that Kathy is a clone, although she appears to be addressing an insider from her world.

In the first third of the novel Kathy reflects on her childhood and teenage years at Hailsham . Hailsham is an institution where clones are looked after by 'guardians' and referred to as 'students', and which at first appears to be a private boarding school with a heavy focus on the arts and creativity. Their best works of painting, pottery, drawing or poetry were selected and taken away by a woman known as 'Madame', for what the students presume, and what is later confirmed to be, a gallery. The students know they are different from their guardians and the people who live outside Hailsham, referred to as 'normals', but the truth of what the clones are and their certain fate is not fully articulated until the characters are adults.

Kathy is close friends with a confident and controlling girl called Ruth and a boy named Tommy, whose work is never selected for the Gallery – an acknowledgement that defines status at the school. Tommy, teased and excluded, struggles to control his temper and often explodes into furies of rage. The students collect items and other students’ artwork for their own memory boxes , bought or traded at the school’s Exchanges and Sales. Kathy buys a cassette tape by a woman named Judy Bridgewater that contains a song called ‘Never Let Me Go’. This song makes Kathy emotional, and one day she is caught dancing to it by Madame, who Kathy is surprised to see is in tears watching her. Kathy presumes Madame is upset because she knows Kathy can never have children.

Ruth and Tommy start dating and Part Two sees the three friends reach early adulthood and move to a place known as the Cottages, to live with other clones from around the country and experience some freedom before beginning their donations or training to become a carer. When Rodney, another Cottage resident, believes he saw Ruth’s 'possible' – an original that one of the clones was modelled off – the three friends along with Rodney and his girlfriend Chrissie, take a trip to Norfolk to find her. Norfolk exists in the imagination of the Hailsham students as a 'lost corner', where things they have lost will be found. While the 'possible' is not Ruth’s original, Kathy and Tommy find a copy of the Judy Bridgewater tape that Kathy had lost. Ruth was secretly desperate to find her possible and hoped to find her working in an office. Ruth dreams of working in an office and her wish that her possible will be an office worker is one of the only suggestions we have that the clones secretly long for more from their lives and view their possibles as versions of them and what they are capable of. Back at the Cottages, Ruth continues to be manipulative and self-promoting, leading to a falling out with Kathy where she decides to leave early to begin training as a carer and falls out of contact with Ruth and Tommy.

Part Three encompasses Kathy’s time as a carer. Years after the time at the Cottages, Kathy organises to be Ruth’s carer and Ruth reconnects Kathy and Tommy, admitting she knew they loved each other and deliberately kept them apart. She hopes they will attempt to get a deferral from Madame. After Ruth 'completes', Kathy and Tommy finally become a couple. They visit Madame to ask for a deferral, who informs them there is no such thing. They learn from Madame that Hailsham was an attempt to reform the treatment of clones in their youth by proving they had souls . In most centers, clones are reared in deplorable, abusive conditions. They also learn that Hailsham had to be shut down. The normals became too uncomfortable with the reality of the clones’ souls but were not prepared to lose their organ supply. Never Let Me Go is a story about injustice and social stratification, where one group is made to suffer for the benefit of another. The 'normals' can deny their mortality while forcing the clones to confront their death sooner than their natural life span , and by shutting down schools like Hailsham, they do not need to think about the ethics of their choices.

Tommy dies and Kathy resigns herself to her fate as a donor. At the end of the novel, Kathy misses Tommy and Ruth, but consoles herself that she will always have her memories with her . Ishiguro explores the extent to which people accept their predetermined fate and how they can find meaning and love within those often-cruel limitations. 

2. Textual Features Analysis

A textual feature is a component of the text used by authors to give meaning to their work. It is necessary to engage with the actual construction of the texts and to discuss textual features using metalanguage (terms that describe and analyse language). To write a thorough and thoughtful essay, you need to understand the textual features and how they are connected to overall thematic ideas. Structural features and metalanguage can be used as evidence of authorial intent and deepen our understanding of how writers use literary techniques to develop ideas and create meaning. Let’s take a look at Genre . 

Stasiland is an example of creative nonfiction, meaning it tells a story of factual events and real people using literary and poetic techniques. The word ‘creative’ doesn’t give authors permission to exaggerate or dramatise the truth, instead this genre is one of factually accurate prose about real people and events that is told in a vivid and compelling way.

The reason Stasiland is classified as creative nonfiction and not under the genre of memoir is because although the events follow Anna Funder’s experiences in Berlin, they are not predominantly about her. A memoir is the writer’s own personal journey and life, whereas creative nonfiction generally has more public relevance and commentary. In Stasiland , Funder’s experiences in Berlin structure the chronology of the narrative but take a thematic backseat to the stories of the East Germans she meets and the historical events she relays . 

Never Let Me Go has elements of multiple genres: dystopian fiction, speculative historical fiction, science fiction and bildungsroman.

‘Dystopia’ means the opposite of ‘utopia’, but you’ll notice that most dystopian novels are set in societies where the ruling classes believe they are in a utopia. This is true of Never Let Me Go , as the clones pay with their lives and freedom for the utopian elimination of disease and extended life spans of the 'normals '. However, while clearly set in a horrific dystopian world, Never Let Me Go notably differs from other novels in the dystopian genre, as the oppressed clones never once consider rebelling against the status quo – the most Kathy and Tommy hope for is an extension before beginning their donations and 'completing'. Ishiguro has stated in multiple interviews that he was most interested in exploring why oppressed persons never consider rebelling against their fate – what leads them to passive acceptance of their position in society?  

In his exploration of this question, Ishiguro explores the development and growing up of Kathy, Ruth, and Tommy, trying to understand why they all submit without protest to their fate . In this sense the novel is a bildungsroman. Bildungsroman is a genre concerned with the psychological and moral development of a protagonist from childhood to adulthood, focusing on a person’s formation or coming of age. Never Let Me Go follows Kathy, Ruth and Tommy throughout their childhood and adolescence at Hailsham, their experience of limited freedom at the Cottages as young adults, and finally the reality of their short adult life as organ donors.

Of course, Never Let Me Go also fits into the category of speculative historical fiction and science fiction. The novel is set in an alternate historical reality where genetic science rapidly advanced after World War Two (significantly outstripping the real-world) and clones have been used to extend life in the UK for decades. However, Ishiguro does not give much narrative weight to describing the political reality of his fictional world , and neither does he offer much scientific explanation for the existence of clones. As we’ve already discussed, Ishiguro was vastly more interested in using these scientific and political circumstances to create conditions within which to explore characters and, by extension, human nature, so Never Let Me Go fits uneasily in these genres. 

3. Themes (Convergent and Divergent Strategy)

Now that we’ve looked closely at both Stasiland and Never Let Me Go , it’s time to discuss in depth the key themes and ideas. Themes are the big ideas about human experience that a text explores, and form part of the message the author is hoping to communicate. A sound knowledge of key themes is essential for developing a thoughtful essay. All essay topics will ask you to explore thematic ideas in one way or another. If you have a strong understanding of both texts’ themes and how they are communicated, you will be able to generate arguments for any essay topic with confidence.

I’ll be adhering to the CONVERGENT and DIVERGENT strategy. This guide doesn’t go into too much detail about using LSG’s CONVERGENT and DIVERGENT strategy, so perhaps familiarise yourself with it by reading How to Write a Killer Comparative . 

Convergent Idea: The Importance of the Act of Remembering

Both Stasiland and Never Let Me Go illustrate the importance of remembering through the very construction of the text: in the narrative voice and narrative structure. Both narrators are looking into the past to try to make sense of history. For Kathy, this is a personal history whereas for Funder it is an act of witnessing a nation’s past and elevating the voices of the victims.

Stasiland is a compilation of the stories of all kinds of people involved and impacted by the GDR , including those who rebelled against the system, those who supported it and those crushed by it. Thus, ‘both sides’ of history are represented. Funder said in an interview with the Sydney Morning Herald after the publication of Stasiland that, 'When [Germans] read my book, people in the East are not proud of themselves. They'd rather not be reminded that other people were braver than they were. So there is a huge force to pretend that the Stasi regime was not as bad as it was.' This desire to forget the past so as to ignore confronting the terrible and terrifying truths contained within it is what Funder is working against by writing Stasiland . At one point in the text, she explicitly states what she’s doing: 

'I’m making portraits of people, East Germans, of whom there will be none left in a generation. And I’m painting a picture of a city on the old fault-line of east and west. This is working against forgetting, and against time' ( Stasiland , 147).

Julia explains the importance of these portraits, telling Anna 'For anyone to understand a regime like the GDR, the stories of ordinary people must be told. …You have to look at how normal people manage with such things in their pasts' (144). These 'things in their pasts' are not just trauma and hardship, but the knowledge that people just like them – their spouses, children, friends and neighbours – were capable of such cowardice, betrayal, self-interest and cruelty. It is this knowledge that Funder wants to preserve – that ordinary people are capable of both extraordinary courage and extraordinary cowardice .

Anna comes across a sobbing man 'I don’t want to be German anymore!...We are terrible…They are terrible. The Germans are terrible' ( Stasiland , 253-4). Anna reflects that East Germans were 'long used to thinking the bad Germans were on the other side of the Wall' and now he is forced to ask 'were his people, now broke or drunk, shamed or fled or imprisoned or dead, any good at all?' ( Stasiland , 254).

Although Kathy’s narration is entirely from her perspective , her act of remembering is also in many ways a political statement that forces us to consider the inhumanity people are capable of .

Kathy recollects and structures her memories of her childhood and relationships to understand them as a unified whole, essentially establishing her identity . More importantly, it is evident in phrases such as 'I don’t know how it was where you were, but at Hailsham…' ( NLMG , 13) and 'I’m sure you’ve heard it said plenty more' ( NLMG , 4) that Kathy is positing a reader for her writing. Assuming a reader places her autobiography in a social framework with the purpose of communicating her life , which turns it into a historical account that exists beyond the limit of her death. Kathy’s attempt to leave a legacy by writing down her experiences and structuring her identity is an act of protest against a society that believes she is sub-human , without feelings or motivations, and that her life meant nothing.

Divergent Idea: The Role and Value of Nostalgia

The way memory can be distorted is particularly clear in relation to the idea of nostalgia for a brutal past. This idea is explored differently in Stasiland and Never Let Me Go , with Funder condemning nostalgia as blinding people to the horrors of the past, and Ishiguro illustrating how drawing comfort from the past can help people through difficult times .

In Stasiland , many disaffected former East Germans tell Anna that things were 'so much better before' ( Stasiland , 251) the country’s reunification. Anna reflects: 

'I don’t doubt this genuine nostalgia, but I think it has coloured a cheap and nasty world golden; a world where they was nothing to buy, nowhere to go and anyone who wanted to do anything with their lives other than serve the Party risked persecution, or worse' ( Stasiland , 251-2).

Similarly, while working at the radio station on Ostalgie parties ( Ostalgie is nostalgia for life in Communist East Germany), Miriam observes 'a crazy nostalgia for the GDR – as if it had been a harmless welfare state that looked after people’s needs. Most of the people at these parties are too young to remember the GDR anyway. They are just looking for something to yearn for' ( Stasiland , 275). Funder is critical of nostalgia because it minimises past injustice .

Conversely, in Never Let Me Go , nostalgia and false memories are shown to be consolatory and even useful. Before Kathy begins to recount her childhood, she mentions a donor who was once under her care who 'knew he was close to completing' ( NLMG , 5). He asks Kathy to share memories of her childhood and 'What he wanted was not just to hear about Hailsham, but to remember Hailsham, just like it had been his own childhood. …so the line would blur between what were my memories and his' ( NLMG , 5). Although this man is falsifying his memories, he is not editing and revising history like some people in east Berlin , he is replacing them entirely to suppress the trauma of his own past. He is not yearning for a return to an idealised past the way some people in Stasiland do. For Kathy, nostalgia for her childhood helps her reconnect with her friends, creating a sense of belonging and identity. Her attachment to Hailsham strengthens her worldview, her relational bonds and gives meaning to her life. Nostalgic memory in Never Let Me Go brings comfort, although you could argue that it also fosters passivity and acceptance in the face of oppression .

4. 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: Stasiland & Never Let Me Go 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!

 5. Sample Essay Questions

1. ‘To conform is to be safe and to survive.’ Compare how this idea is examined in both texts.

2. 'The earlier years…blur into each other as a kind of golden time' ( Never Let Me Go ) 'I don’t doubt this genuine nostalgia, but I think it has coloured a cheap and nasty world golden.' ( Stasiland ) Compare what the two texts say about the dangers of willful ignorance.

3. 'For Miriam, the past stopped when Charlie died.' ( Stasiland ) '…I’d see it was Tommy, and he’d wave, maybe even call…and though the tears rolled down my face, I wasn’t sobbing…I just waited a bit, then turned back to the car, to drive off to wherever it was I was supposed to be.' ( Never Let Me Go ) What role do love and relationships play in helping people withstand persecution?

4. ‘It is impossible to be free when you are unaware of your confines.’ Compare how the two texts explore freedom and confinement.

4. ‘The past is always harder to access than we think’. Compare the ways in which Stasiland and Never Let Me Go depict the difficulties in uncovering the past.

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:

'To remember or forget? Which is healthier? To demolish it or fence it off? To dig it up, or leave it to lie in the ground?' ( Stasiland ). 'What he wanted was not just to hear about Hailsham, but to remember Hailsham, just like it had been his own childhood' ( Never Let Me Go ). How does memory inform identity in Stasiland and Never Let Me Go ?

This quote-based prompt is constructed a bit like a theme-based prompt as it directs us to talk about memory’s role in forming identity. However, the quotes act as an additional hint in terms of what else we’re supposed to discuss. We need to identify where these quotes come from in the texts and why they might be significant. The Stasiland quote (from p. 52) comes from the question of what the nation should do with Hitler’s bunker. In the end the only decision was indecision, the mayor buried the bunker and hoped that people in 50 years might know what to do with it. Thus, this quote points to the difficulty countries have in creating a national identity when there is horror and trauma in their history. The Never Let Me Go quote (from p. 5) points towards an ill donor’s recreation of his identity using someone else’s memories. Therefore, this quote points to how memories, even false ones, can reconstruct individual identity.

Because of the direction of the two quotes, I am going to explore memory’s role in forming individual and group identity.

Individual identity:

• Kathy and Julia develop greater self-insight through sharing their memories in a structured, logical narrative.
• Kathy and Herr Koch fear that the loss of the physical presence of Hailsham and the Berlin Wall will undermine the significance of their memories of these places, which form a substantial part of their pasts and identities. They therefore pay much more attention to preserving their memories of these places to affirm their identity.

Group identity:

• East Germany’s rewriting and erasure of history meant that they no longer identified as the same Germans responsible for Hitler’s regime.
• The episode in which a distressed man sobs 'I don’t want to be German anymore!' reveals how difficult memories can generate confusion and internal conflict over an individual’s perception of their national identity.
• In NLMG , the country’s determined forgetting of the circumstances of the clones allows them to preserve their own interests and maintain an uncomplicated, guilt-free, but false, innocent national identity.

P1: Both texts show that the degree to which one’s memories have been investigated and illuminated impacts how well they understand their identity.

• Compare Kathy and Julia and the way they reconstruct their understanding of their identity by reflecting on their memories with the new information offered by hindsight.
• Conversely, the ill donor that Kathy cares for at the beginning of the novel sought to purposefully suppress his own identity by replacing his memories. This speaks to the same idea that memories can evolve and shape identity but shows how that can be misaligned with reality and truth (note: this discussion of the donor is your opportunity to use the quote from the prompt, which is a requirement of a quote-based topic).

P2: Sometimes people hold on tightly to particular memories as a way to affirm their identity as losing those memories is akin to erasing or denying the legitimacy of their experiences.

• Compare Hagen Koch’s obsession with the Berlin Wall and Kathy’s preoccupation with Hailsham.

P3: Choosing what gets remembered or forgotten in a nation’s ‘official history’ drastically impacts how their national identity is perceived and how well that identity aligns with reality.

• 'History was so quickly remade, and so successfully, that it can truly be said that the easterners did not feel then, and do not feel now, that they were the same Germans as those responsible for Hitler’s regime'
• 'I don’t want to be German anymore!'
• 'To remember or forget? Which is healthier?'
• 'The world didn’t want to be reminded how the donation program really worked.'
• 'They preferred to believe these organs appeared from nowhere.'

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: Stasiland & Never Let Me Go study guide !

• 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.

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.

• Introduction to William Wordsworth and Romanticism
• Key Features of Romantic Poetry
• Poetic Analysis Examples

1. Introduction to William Wordsworth and Romanticism

William Wordsworth was a British poet and primary co-founder of the Romantic literary movement. He strongly believed that the poetry of the nineteenth century was much too fast-paced and too mindless to be able to evoke a meaningful message to the reader. Contending that ‘all good poetry is the spontaneous overflow of powerful feeling,’ he wished to pioneer Romanticism to create a genre of poetry that reminded the reader of the very essence of humanity.

As such, Wordsworth and fellow poet Samuel Taylor Coleridge founded a new style of poetry through their co-written 1798 Lyrical Ballads , a collection of poetry which attempted to unite the human condition with the tranquility of nature. 

As a resident of England’s picturesque Lake District, Wordsworth enjoyed becoming one with nature by wandering through the neighbouring hills, moors and lakeside views, while mentally composing poems inspired by its glorious elements. 

William Wordsworth: Poems Selected by Seamus Heaney 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 .

2. Key Features of Romantic Poetry

The Romantic movement of poetry was founded during the Industrial Revolution, a period in which people were growing farther from the serene comfort of nature and closer towards modern mechanisation and mass manufacturing. As such, a primary characteristic of Romantic poetry is nature, as poets attempted to remind humanity of its meditative respite, and the comfort it could provide in the backdrop of the pollution that accompanied the growing industrialisation of England. 

Wordsworth was a pantheist and believed that God was within every aspect of the natural world. In addition to this, he categorised himself as an ardent ‘worshipper of nature’. Thus, much of his poetry explores nature in a sacred and religious sense, presenting goodness and naturalness as synonymous - aptly displaying his belief of nature as a living, divine entity that could only to be ignored at humankind’s peril. 

Emotionalism 

Romantic poetry subdues reason, intellect and the scientific truth in order to place more focus on the ‘truth of the imagination’. As a result of the harsh rigidity and rationality of the Enlightenment era, all human sentiments, from melancholiness to hopefulness, were celebrated by Romantics as important instruments in poetry to remind the common people of sentimentality in a modern and intransigent era. 

As Romantics believed that these feelings allowed one to look deeper into one’s self, the theme of powerful emotions constructs the very essence of Romantic poetic poetry. As a result of this, rather than placing much importance on sense or sensibility, much of Wordsworth’s poems scrutinise his own effusion of feelings and the universal truths that these help him discover, speaking as the characteristic Romantic poet occupying a sentimental place of alienation.

Rebellion and Individualism

The Industrial Revolution oversaw the creation of distinct class differences between the extremely wealthy class of businessmen, and financially struggling workers and entrepreneurs. Poets, like all other artists, were forced to become increasingly independent and needed to rely on their unique vision and style in order to succeed in their gradually declining line of work. The Romantics subsequently began to view themselves as heroes who challenged and overcame the social challenges that arose; as champions of independence and self-awareness. As such, Romantic poetry often features characters or symbols of valiant heroism, as the poet acts as a visionary figure in his work, like a prophet telling of poetic self-awareness. 

The Sublime

In accordance with their celebration of human emotions, Romantics also became fascinated with the literary conception of ‘the sublime’, a mental state that Classical authors such as Longinus defined as ‘physical, moral, intellectual, metaphysical, aesthetic, spiritual, or artistic greatness’ that is of such magnificence that it cannot be measured. 

The Romantics explored these extraordinary experiences in their poetry, describing the power of such sublime experiences on one’s senses, mind and imagination. Wordsworth expressed in his essay that a sublime experience is what occurs when one’s mind attempts to attain ‘something towards which it can make approaches but which it is incapable of attaining’. For example, his biographical poem, The Prelude recounts his ascent of Mount Snowdon and the sublime emotions he experiences as a result of its powerful atmosphere. 

Many have viewed Wordsworth’s view of the sublime as the Romantic standard, as his poetry focuses equally on both the alluring and devastating aspects of such sublime experiences. His work focuses on the intertwined pleasure and terror that is generated as a result of such experiences, and how either end of the spectrum is ultimately beautiful and inspiring.

Context is really important when engaging with a text in VCE English, so be sure to read Context and Authorial Intention in VCE English .

3. Poetic Analysis Examples 

Example passage 1.

Books! 'tis a dull and endless strife: Come, hear the woodland linnet, How sweet his music! on my life, There's more of wisdom in it.

And hark! how blithe the throstle sings! He, too, is no mean preacher: Come forth into the light of things, Let Nature be your teacher.

This passage, taken from Wordsworth’s Tables Turned; An Evening Scene on the Same Subject , is a primary example of a poem displaying the Romantics’ propensity and reverence for the natural landscape.  

Thematic Analysis

The speaker of the poem contrasts the ‘endless strife’ of book-learning to the spontaneous and liberal method of learning through interacting with nature. The description of the ‘woodland [linnet’s]’ song as ‘sweet’ music evokes an image of heavenly bliss associated with the charms hidden within nature. That ‘there’s more of wisdom in’ such nature works in tandem with this, as the speaker asserts that the natural landscape is able to teach a lesson of a magnificence incomparable to the monotony of the ‘dull’ studying thorough book-learning. 

The speaker’s evocation of ‘blithe’ emotions through sound is continued in the second stanza, in which ‘the throstle’ delivers another divine ‘song’ in an attempt to entice the reader. The speaker furthers his advocation for natural learning through a condemnation of route learning, as he attacks teachers of such as ‘mean preachers’. The directly following use of a pun emphasises this contrast, as the ‘light of things’ symbolises both the enlightenment that will accompany nature’s teaching, as well as the literal ‘light’ of nature underneath the sun. 

The final line of the passage summarises the speaker’s persuasion aptly, as the phrase, ‘let nature be your teacher’, rings similar to a passage which can be found in the Bible; the speaker thus implies that the natural world is the all-superior entity and source of knowledge that one should take lessons from. 

Stylistic Analysis

The rhyme and the rhythmic beat of the poem give it a sound comparable to a nursery-rhyme. This works in tandem with the Romantic viewpoint that great poetic language should be simple, accessible and conversational; as understandable to the common people as a nursery rhyme is to a child. This similarity also works in accordance with the authorial message of the poem, that nature should be a universal ‘teacher’, as nursery rhymes are often employed as enjoyable sing-songs that educate children on a moral level. As such, Wordsworth here strengthens his viewpoint through his poetic words; that nature should be a mentor to all. 

Example Passage 2

‍ For thou art with me here upon the banks  Of this fair river; thou my dearest Friend,  My dear, dear Friend; and in thy voice I catch  The language of my former heart, and read  My former pleasures in the shooting lights  Of thy wild eyes. Oh! yet a little while  May I behold in thee what I was once,  My dear, dear Sister! and this prayer I make,  Knowing that Nature never did betray  The heart that loved her; 'tis her privilege,  Through all the years of this our life, to lead  From joy to joy… Therefore let the moon  Shine on thee in thy solitary walk;  And let the misty mountain-winds be free  To blow against thee: and, in after years,  When these wild ecstasies shall be matured  Into a sober pleasure; when thy mind  Shall be a mansion for all lovely forms,  Thy memory be as a dwelling-place  For all sweet sounds and harmonies; oh! then,  If solitude, or fear, or pain, or grief,  Should be thy portion, with what healing thoughts  Of tender joy wilt thou remember me,  And these my exhortations! Nor, perchance—  If I should be where I no more can hear  Thy voice, nor catch from thy wild eyes these gleams  Of past existence—wilt thou then forget  That on the banks of this delightful stream  We stood together; and that I, so long  A worshipper of Nature, hither came  Unwearied in that service: rather say  With warmer love—oh! with far deeper zeal  Of holier love. Nor wilt thou then forget,  That after many wanderings, many years  Of absence, these steep woods and lofty cliffs,  And this green pastoral landscape, were to me  More dear, both for themselves and for thy sake!

This passage is taken from the final section from Lines Composed a Few Miles above Tintern Abbey , a critical work in Wordsworth’s poetic career. Tracing the growth of his mind in different periods of time, the poem is a condensed, spiritual autobiography of Wordsworth himself as it views his younger self from the perspective of his older self, weighing the sense of ‘loss’ suffered against the belief that the years have brought him ‘abundant recompense’. 

After recalling his experiences with nature over his formative and adult years, the speaker now addresses his younger sister Dorothy, as he gives her heartfelt advice about what he has learnt. Here, Dorothy becomes a ghost of his former self, as he hears ‘the language of his former heart’ when she speaks and perceives his ‘former pleasure’ in the ‘soothing lights of [her] wild eyes’. 

The speaker depicts his loyalty to nature and its reflective loyalty to him, by the expression that ‘nature never did betray [his] heart’ that loves Dorothy, and this is the reason they have been living from ‘joy to joy’, lending nature a role of salvation. 

The speaker then directly addresses the moon as a kind of separate entity, in order to ask it to bless his sister by shining on her ‘solitary walk’, so that when she is an adult her mind may become a ‘mansion for all lovely forms’. This is an ode to the harshness of the society at the time, in which the privileged businessmen and factory owners possessed a monopoly over British wealth, and accompanying prejudices clouded social judgement. As such, the speaker expresses his desires for his beloved sister to be exempt from such hardship that he was once subjected to, so that she can enjoy ‘sweet sounds and memories’ without experiencing the vexations of an unrelenting human society. 

The conclusion of the poem is cyclic, as it takes the speaker back to the ‘green pastoral landscape’ of the beginning of his meditations. This symbolises the omnipresent timelessness of nature. As the speaker muses upon his ‘past existence’, he wishes to convey his own reverence for nature to his beloved sister, as he expresses that she will not forget the ‘steep woods and lofty cliffs’ upon which he first understood and respected nature. 

The language utilised in this poem is lucid and natural, characteristic of Romantic poetry. The simplicity of the words chosen by Wordsworth effectively communicate the honesty of his own emotions towards nature. The elevated blank verse structure furthers this simplicity, as its familiar and easy tone is like that of a comfortable heartbeat or pulse that runs throughout one’s body in a serene state of mind. 

Ultimately, the unconstrained and liberating tone of the poem, in accordance with its free blank verse structure emphasises Wordsworth’s belief that nature is within our very selves. Just as the poem runs smoothly and continuously, akin to a human pulse, Wordsworth suggests that nature too runs within everyone as an incessant heartbeat, necessary in order to experience a ‘warmer’ and ‘holier’ love for this universe.

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English: putting it together

Responding to the topic and writing the text response essay.

The study of a text remains central to secondary English.

While the types of texts read in English classrooms have diversified over time, the dominant way that students respond to these texts continues to be in the form of an analytical text response essay.

The text response essay requires students to respond to a topic on a set text, and largely follows a structure whereby students need to write the following:

• introduction
• body paragraphs
• conclusion.

The scaffolding that was undertaken during the process of analysing the set text should also be repeated in the writing up of the text response essay. To achieve this, explicit instruction about what and how students should be writing in each section is foundational.

Suggested techniques for each stage in the Learning and Teaching Cycle (Love, Baker & Quinn, 2008) are outlined below.

Where relevant, links to strategies explained elsewhere are also included, demonstrating how the strategies in the toolkit can be used in a number of ways across a number of lessons.

It is important to provide students with some sample topics and ways to approach them, before they move onto the unpacking of the specific topic for assessment.

Often students find it challenging to differentiate between the types of topics and questions posed about texts, and the ways that they can respond to them.

In the initial phase of preparation for the writing of the text response essay, students need to be drawn back into the key themes and issues within the set text, and shown the ways that a topic can be unpacked ( HITS Strategy 2 ).

Brainstorming: The brainstorming technique may be used to establish what students can identify as the key themes and issues in the set text. Students may then use these words as prompts to predict the kinds of questions they may be asked about the text. Following this, teachers might get students to predict the kinds of questions that they might be asked about the set text. (See strategy: Activating prior knowledge ).

This opening strategy provides teachers with an opportunity to excite and motivate the students about the learning, but it also allows for teachers to establish what the students know and do not know about responding to topics and writing text response essays.

Building knowledge

When students are presented with an essay topic, they will need some explicit teaching ( HITS Strategy 3 ) around the ways to unpack the topic, as well as how to plan for the writing of the essay.

One way that this can be approached by the teacher is to have students work closely with the styles of questions and topics that may be set.

Sample topics

Students must be aware of the different styles of text response topics that may be set:

• a statement about the text followed by a prompt

Example: ‘Men and women are treated differently in Whale Rider’. Discuss.

• a statement about the text followed by a prompt question

Example: ‘In Chinese Cinderella, Adeline is a difficult character to like.’ Do you agree.

• a direct question about the text

Example: ‘How does The Sapphires, challenge narrow-minded attitudes to gender and race?’

• a quotation from the set text followed by a question

Example: “If you go out to find life, you lose other things,” says Mrs Wilkinson. How is this demonstrated in Billy Elliot?

Topic prompts

Text response essay topics in English generally contain topic prompts. The prompt is the word, statement or short question that completes the topic, and in many ways determines the direction of the response.

Common prompts include:

• Do you agree?
• To what extent…?
• What does…?

Sorting and matching strategy

One way to build knowledge about text response topics is to provide students with an opportunity to engage with the components of a topic by sorting and matching them. This activity can be completed individually, in pairs or groups.

Example: sorting and matching

Students must sort out and match the prompt with the most appropriate definition.

Transformation

Before students can begin writing their own text responses, they will need to be able to unpack the topic, and then plan their work. This can be achieved through the modelling of how to annotate a topic ( HITS Strategy 4 , HITS Strategy 6 ).

Following the annotation of the topic, teachers will need to go through how to plan the essay and how to write the response. (See strategies: Identifying key vocabulary and Annotating text ).

Example: Annotating or colour-coding a topic

The Sapphires directed by Wayne Blair

Topic: " To what extent is Dave responsible for the 'Sapphires’ success ?"

• Define: responsible, success
• To what degree is Dave the one who creates the success? Solely? Mostly? Partly?
• How does Dave do this?
• Who else helps the women to accomplish their dreams?
• What are the other factors that support the women in their quest for success?

Providing students with model sample paragraphs for the text response is important.

Teachers can use these paragraphs in a variety of ways including:

• reading them aloud with the class
• annotating the key components with students
• comparing them with the expected qualities of effective paragraphs
• asking students to collaborate to write another paragraph or writing practice introductions and conclusions. (See strategy: Using model texts to teach genre ).

Example: Modelling the text response

Topic: “To what extent is Dave responsible for ‘the Sapphires’ success?”

Presentation

Depending on the stage in the process of writing the text response, the presentation of student work can take many forms.

Generally, the completed essay is a summative task, but this learning sequence also allows for formative work as students may present some of their sample paragraphs to the teacher or to the class as a whole. These shared paragraphs could be used as further examples for annotation and modelling ( HITS Strategy 4 , HITS Strategy 5 ).

See strategies:

• Annotating text
• Selecting and incorporating evidence and quotes
• Using worked examples
• Using model texts to teach genre .

The reflection stage of the learning sequence can take place upon the submission of the completed text response or after the student has received feedback on their piece of writing ( HITS Strategy 8 ).

A useful strategy to employ so that students think carefully about their learning in relation to the process of writing the text response is to provide them with a set of reflective questions. These questions can be tailored to elicit responses from students that the teacher is particularly interested in, as well as being a source of data to inform how to approach the text response in future teaching.

Example: set of reflective questions

Learning Sequence

The learning sequence for Level 7 in English, demonstrates how literacy teaching strategies can be used in a sequence.

A learning sequence tool is also available to assist in the planning of English and Literacy across a series of lessons.

• Love, K., Baker, G. & Quinn, M. (2008). LASS: Literacy Across the School Subjects

Our website uses a free tool to translate into other languages. This tool is a guide and may not be accurate. For more, see: Information in your language

How to Write a Personal Response Essay

How to Write a 200 Word Biography

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

What Is a Personal Response Essay?

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

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

Do a Pre-Reading Brainstorm

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

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

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

Read the Response Text

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

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

Reread and Annotate the Response Text

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

Make an Outline

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

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

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

Write Your Response

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

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

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

Editing and Revision

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

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

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

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

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

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

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Rebecca Renner is a teacher and freelance writer from Daytona Beach, Florida. Her byline has appeared in the Washington Post, New York Magazine, Glamour and elsewhere.

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Opinion | NPR suspends an editor for his essay blasting … NPR

The firestorm caused by Uri Berliner’s critical essay in The Free Press continues to rage

When a senior editor at NPR recently wrote a 3,500-word essay for another outlet, blasting where he works and saying that NPR had “lost America’s trust,” my first thought, quite frankly, was, “ … and he still works there?”

Well, it was learned on Tuesday that the editor in question, Uri Berliner, is currently serving a five-day suspension without pay. NPR media writer David Folkenflik reported the suspension began last week. Folkenflik wrote, “In presenting Berliner’s suspension Thursday afternoon, the organization told the editor he had failed to secure its approval for outside work for other news outlets, as is required of NPR journalists. It called the letter a ‘final warning,’ saying Berliner would be fired if he violated NPR’s policy again. Berliner is a dues-paying member of NPR’s newsroom union but says he is not appealing the punishment.”

Berliner, who has been at NPR for 25 years, wrote his scathing essay for the online news site The Free Press, a publication on Substack. Folkenflik described The Free Press as a “site that has become a haven for journalists who believe that mainstream media outlets have become too liberal.”

The suspension does not mean the firestorm created by Berliner’s essay has been suppressed. Folkenflik wrote, “Yet the public radio network is grappling in other ways with the fallout from Berliner’s essay for the online news site The Free Press. It angered many of his colleagues, led NPR leaders to announce monthly internal reviews of the network’s coverage, and gave fresh ammunition to conservative and partisan Republican critics of NPR, including former President Donald Trump.”

The New York Times’ Benjamin Mullin wrote , “After Mr. Berliner’s essay was published, NPR’s new chief executive, Katherine Maher, came under renewed scrutiny as conservative activists resurfaced a series of years-old social media posts criticizing former President Donald J. Trump and embracing progressive causes. One of the activists, Christopher Rufo, has pressured media organizations into covering controversies involving influential figures, such as the plagiarism allegations against Claudine Gay, the former Harvard president.”

Maher was not at NPR at the time of her posts and, furthermore, the CEO has no involvement in editorial decisions at the network.

But Berliner told Folkenflik in an interview on Monday, “We’re looking for a leader right now who’s going to be unifying and bring more people into the tent and have a broader perspective on, sort of, what America is all about. And this seems to be the opposite of that.”

In a statement earlier this week, Maher said, “In America everyone is entitled to free speech as a private citizen. What matters is NPR’s work and my commitment as its CEO: public service, editorial independence, and the mission to serve all of the American public. NPR is independent, beholden to no party, and without commercial interests.”

As far as Berliner’s essay, many, particularly inside NPR, are pushing back against his various assertions, including that NPR has a liberal bias.

Mullin wrote for the Times, “Several NPR employees have urged the network’s leaders to more forcefully renounce Mr. Berliner’s claims in his essay. Edith Chapin, NPR’s top editor, said in a statement last week that managers ‘strongly disagree with Uri’s assessment of the quality of our journalism,’ adding that the network was ‘proud to stand behind’ its work.”

Tony Cavin, NPR’s managing editor for standards and practices, pushed back against specific claims made by Berliner and told the Times, “To somehow think that we were driven by politics is both wrong and unfair.”

NPR TV critic Eric Deggans tweeted , “Many things wrong w/terrible Berliner column on NPR, including not observing basic fairness. Didn’t seek comment from NPR before publishing. Didn’t mention many things which could detract from his conclusions. Set up staffers of color as scapegoats.”

So what happens now? Will Berliner be in further trouble for criticizing the CEO in an interview with Folkenflik, his NPR colleague?

Berliner told Folkenflik, “Talking to an NPR journalist and being fired for that would be extraordinary, I think.”

I urge you to check out Folkenflik’s piece for all the details. And, by the way, kudos to Folkenflik for his strong reporting on his own newsroom.

CNN’s response

In Tuesday’s newsletter , I wrote how “King Charles” — the limited series featuring Gayle King and Charles Barkley — has ended after 14 shows. I wrote that the network had “pulled the plug” on the show.

CNN said that description was inaccurate and that I was wrong in framing it the way I did.

While I did say that CNN announced from the beginning that the show was a limited series, I also wrote that the show reached its ending “a little ahead of time.” The network, however, said it was clear all along that the show was scheduled to end in the spring, that it is spring right now, and the show was not canceled early.

A CNN spokesperson told me, “‘King Charles’ has come to the end of its limited run, as we announced when it launched last fall that it would run through spring. The show was a great addition to CNN’s lineup, with the youngest, most affluent, and most diverse P2+ audience in its cable news time period and brought new audiences to CNN. It’s inaccurate to report that the show was canceled as it went through its full run and duration of the limited series. We hope to work with both of these incredible talents in the future as they balance their very busy schedules.”

With the NBA playoffs about to begin, Barkley is about to head into extra duty at his main job as studio analyst for TNT’s “Inside the NBA.”

The show’s average viewership was under a half million and lagged behind competitors Fox News and MSNBC, but CNN said it was pleased that the King-Barkley broadcast brought new audiences to CNN. It pointed to this statistic from Nielsen via Npower that said 43% of the “King Charles” audience was nonwhite, compared to 7% for Fox News and 27% for MSNBC during that Wednesday at 10 p.m. Eastern hour.

Smartmatic and OAN settle suit

Smartmatic, the voting technology company, and One America News, the far-right TV network, have settled their lawsuit. Smartmatic was suing OAN, claiming the network lied that the company rigged the 2020 election in favor of Joe Biden and against Donald Trump.

Neither side disclosed the terms of the settlement.

Smartmatic still has pending lawsuits against Fox News and Newsmax. And OAN is still facing a defamation lawsuit from Dominion Voting Systems. That’s the company that Fox News settled with out of court a year ago by agreeing to pay Dominion a whopping $787.5 million.

Missing at the Masters

According to Sports TV Ratings , Sunday’s final round of The Masters golf tournament on CBS averaged 9.58 million viewers, which was down 20% from last year’s final round, which averaged 12.05 million. This shouldn’t be a surprise. This year’s final round lacked drama, with winner Scottie Scheffler pretty much in control throughout the day.

Sports Media Watch’s Jon Lewis noted that in the past three decades, only COVID-era Masters in 2020 (5.64 million) and 2021 (9.54 million) had fewer viewers. Those were the least-viewed Masters since 1993.

But Lewis also points out, “As one would expect, the final round of the Masters still ranks as the most-watched golf telecast and one of the most-watched sporting events of the past year — placing ahead of four of five World Series games and every Daytona 500 since 2017. It also goes without saying that the Masters dominated all other weekend sporting events.”

Just for fun, however, I will mention that the 9.58 million was nowhere near the number of viewers (18.7 million) that watched the NCAA women’s college basketball final between South Carolina and Iowa (and star Caitlin Clark) one week earlier on a Sunday afternoon.

Other media notes, tidbits and interesting links …

• Speaking of Clark, Tom Kludt writes for Vanity Fair: “Behind the Scenes With Caitlin Clark on WNBA Draft Day: ‘I Definitely Know There’s Eyeballs on Me.’”
• Axios’ Sara Fischer with “Dozens of Alden newspapers run coordinated editorials slamming Google.”
• For the Los Angeles Times, Greg Braxton and Carolyn Cole with “What ‘Civil War’ gets right and wrong about photojournalism, according to a Pulitzer Prize winner.”
• For The Washington Post, Dave Barry, Angela Garbes, Melissa Fay Greene, John Grogan and Charles Yu with “How does the election feel around the country? 5 writers capture the vibe.” Barry, as always looking at things a bit differently, writes, “Greetings from the Sunshine State! The mood down here, as we anticipate the 2024 presidential election, is one of hopefulness. Specifically, we’re hoping that a large, previously undetected meteor will strike the planet before November.”
• For NPR and “Morning Edition,” Elizabeth Blair with “50 years ago, ‘Come and Get Your Love’ put Native culture on the bandstand.”

More resources for journalists

• Thursday webinar : Covering transgender issues with authority and accuracy.
• Applications for Poynter Producer Project close on Friday!
• Reporter’s Toolkit gives you the tools to succeed early in your career. Apply by April 28.
• Delve more deeply into your editing skills with Poynter ACES Intermediate Certificate in Editing .

Have feedback or a tip? Email Poynter senior media writer Tom Jones at [email protected] .

The Poynter Report is our daily media newsletter. To have it delivered to your inbox Monday-Friday, sign up here .

How a longtime film critic’s death represents the great dissolve of local film criticism

Bryan VanCampen of The Ithaca Times was an institution in the central New York college town of 32,000. He might have been the last of his kind.

Opinion | An NPR editor is now a former NPR editor after his resignation

Uri Berliner, an NPR business editor who wrote a scathing essay about his organization in another publication, no longer works at NPR.

No, Stormy Daniels didn’t ‘exonerate’ Donald Trump

The adult film actor denied she had an affair with Trump in a 2018 statement. She has since recanted that statement.

Taylor Swift has not endorsed Joe Biden for president

As of mid-April 2024, Swift has not issued a public endorsement for the 2024 presidential election, despite social posts claiming otherwise

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NPR Editor Speaks Out: How National Public Radio Lost Americans' Trust Honestly with Bari Weiss

• Society & Culture

Uri Berliner is a senior business editor at NPR. In his 25 years with NPR, his work has been recognized with a Peabody Award, a Gerald Loeb Award, an Edward R. Murrow Award, and a Society of Professional Journalists New America Award, among others. Today, we published in The Free Press his firsthand account of the transformation he has witnessed at National Public Radio. Or, as Uri puts it, how it went from an organization that had an “open-minded, curious culture” with a “liberal bent” to one that is “knee-jerk, activist, scolding,” and “rigidly progressive.”  Uri describes a newsroom that aimed less to cover Donald Trump but instead veered towards efforts to topple him; a newsroom that reported the Russia collusion story without enough skepticism or fairness, and then later largely ignored the fact that the Mueller report found no credible evidence of collusion; a newsroom that purposefully ignored the Hunter Biden laptop story—in fact, one of his fellow NPR journalists approved of ignoring the laptop story because “covering it could help Trump.” A newsroom that put political ideology before journalism in its coverage of Covid-19. And, he describes a newsroom where race and identity became paramount in every aspect of the workplace and diversity became its north star.  In other words, NPR is not considering all things anymore.  On today’s episode: How did NPR lose its way? Why did it change? And why does this lone journalist feel obligated to speak out? Learn more about your ad choices. Visit megaphone.fm/adchoices

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NPR suspends veteran editor as it grapples with his public criticism

David Folkenflik

NPR suspended senior editor Uri Berliner for five days without pay after he wrote an essay accusing the network of losing the public's trust and appeared on a podcast to explain his argument. Uri Berliner hide caption

NPR suspended senior editor Uri Berliner for five days without pay after he wrote an essay accusing the network of losing the public's trust and appeared on a podcast to explain his argument.

NPR has formally punished Uri Berliner, the senior editor who publicly argued a week ago that the network had "lost America's trust" by approaching news stories with a rigidly progressive mindset.

Berliner's five-day suspension without pay, which began last Friday, has not been previously reported.

Yet the public radio network is grappling in other ways with the fallout from Berliner's essay for the online news site The Free Press . It angered many of his colleagues, led NPR leaders to announce monthly internal reviews of the network's coverage, and gave fresh ammunition to conservative and partisan Republican critics of NPR, including former President Donald Trump.

Conservative activist Christopher Rufo is among those now targeting NPR's new chief executive, Katherine Maher, for messages she posted to social media years before joining the network. Among others, those posts include a 2020 tweet that called Trump racist and another that appeared to minimize rioting during social justice protests that year. Maher took the job at NPR last month — her first at a news organization .

In a statement Monday about the messages she had posted, Maher praised the integrity of NPR's journalists and underscored the independence of their reporting.

"In America everyone is entitled to free speech as a private citizen," she said. "What matters is NPR's work and my commitment as its CEO: public service, editorial independence, and the mission to serve all of the American public. NPR is independent, beholden to no party, and without commercial interests."

The network noted that "the CEO is not involved in editorial decisions."

In an interview with me later on Monday, Berliner said the social media posts demonstrated Maher was all but incapable of being the person best poised to direct the organization.

"We're looking for a leader right now who's going to be unifying and bring more people into the tent and have a broader perspective on, sort of, what America is all about," Berliner said. "And this seems to be the opposite of that."

Conservative critics of NPR are now targeting its new chief executive, Katherine Maher, for messages she posted to social media years before joining the public radio network last month. Stephen Voss/Stephen Voss hide caption

Conservative critics of NPR are now targeting its new chief executive, Katherine Maher, for messages she posted to social media years before joining the public radio network last month.

He said that he tried repeatedly to make his concerns over NPR's coverage known to news leaders and to Maher's predecessor as chief executive before publishing his essay.

Berliner has singled out coverage of several issues dominating the 2020s for criticism, including trans rights, the Israel-Hamas war and COVID. Berliner says he sees the same problems at other news organizations, but argues NPR, as a mission-driven institution, has a greater obligation to fairness.

"I love NPR and feel it's a national trust," Berliner says. "We have great journalists here. If they shed their opinions and did the great journalism they're capable of, this would be a much more interesting and fulfilling organization for our listeners."

A "final warning"

The circumstances surrounding the interview were singular.

Berliner provided me with a copy of the formal rebuke to review. NPR did not confirm or comment upon his suspension for this article.

In presenting Berliner's suspension Thursday afternoon, the organization told the editor he had failed to secure its approval for outside work for other news outlets, as is required of NPR journalists. It called the letter a "final warning," saying Berliner would be fired if he violated NPR's policy again. Berliner is a dues-paying member of NPR's newsroom union but says he is not appealing the punishment.

The Free Press is a site that has become a haven for journalists who believe that mainstream media outlets have become too liberal. In addition to his essay, Berliner appeared in an episode of its podcast Honestly with Bari Weiss.

A few hours after the essay appeared online, NPR chief business editor Pallavi Gogoi reminded Berliner of the requirement that he secure approval before appearing in outside press, according to a copy of the note provided by Berliner.

In its formal rebuke, NPR did not cite Berliner's appearance on Chris Cuomo's NewsNation program last Tuesday night, for which NPR gave him the green light. (NPR's chief communications officer told Berliner to focus on his own experience and not share proprietary information.) The NPR letter also did not cite his remarks to The New York Times , which ran its article mid-afternoon Thursday, shortly before the reprimand was sent. Berliner says he did not seek approval before talking with the Times .

NPR defends its journalism after senior editor says it has lost the public's trust

Berliner says he did not get permission from NPR to speak with me for this story but that he was not worried about the consequences: "Talking to an NPR journalist and being fired for that would be extraordinary, I think."

Berliner is a member of NPR's business desk, as am I, and he has helped to edit many of my stories. He had no involvement in the preparation of this article and did not see it before it was posted publicly.

In rebuking Berliner, NPR said he had also publicly released proprietary information about audience demographics, which it considers confidential. He said those figures "were essentially marketing material. If they had been really good, they probably would have distributed them and sent them out to the world."

Feelings of anger and betrayal inside the newsroom

His essay and subsequent public remarks stirred deep anger and dismay within NPR. Colleagues contend Berliner cherry-picked examples to fit his arguments and challenge the accuracy of his accounts. They also note he did not seek comment from the journalists involved in the work he cited.

Morning Edition host Michel Martin told me some colleagues at the network share Berliner's concerns that coverage is frequently presented through an ideological or idealistic prism that can alienate listeners.

"The way to address that is through training and mentorship," says Martin, herself a veteran of nearly two decades at the network who has also reported for The Wall Street Journal and ABC News. "It's not by blowing the place up, by trashing your colleagues, in full view of people who don't really care about it anyway."

Several NPR journalists told me they are no longer willing to work with Berliner as they no longer have confidence that he will keep private their internal musings about stories as they work through coverage.

"Newsrooms run on trust," NPR political correspondent Danielle Kurtzleben tweeted last week, without mentioning Berliner by name. "If you violate everyone's trust by going to another outlet and sh--ing on your colleagues (while doing a bad job journalistically, for that matter), I don't know how you do your job now."

Berliner rejected that critique, saying nothing in his essay or subsequent remarks betrayed private observations or arguments about coverage.

Other newsrooms are also grappling with questions over news judgment and confidentiality. On Monday, New York Times Executive Editor Joseph Kahn announced to his staff that the newspaper's inquiry into who leaked internal dissent over a planned episode of its podcast The Daily to another news outlet proved inconclusive. The episode was to focus on a December report on the use of sexual assault as part of the Hamas attack on Israel in October. Audio staffers aired doubts over how well the reporting stood up to scrutiny.

"We work together with trust and collegiality everyday on everything we produce, and I have every expectation that this incident will prove to be a singular exception to an important rule," Kahn wrote to Times staffers.

At NPR, some of Berliner's colleagues have weighed in online against his claim that the network has focused on diversifying its workforce without a concomitant commitment to diversity of viewpoint. Recently retired Chief Executive John Lansing has referred to this pursuit of diversity within NPR's workforce as its " North Star ," a moral imperative and chief business strategy.

In his essay, Berliner tagged the strategy as a failure, citing the drop in NPR's broadcast audiences and its struggle to attract more Black and Latino listeners in particular.

"During most of my tenure here, an open-minded, curious culture prevailed. We were nerdy, but not knee-jerk, activist, or scolding," Berliner writes. "In recent years, however, that has changed."

Berliner writes, "For NPR, which purports to consider all things, it's devastating both for its journalism and its business model."

NPR investigative reporter Chiara Eisner wrote in a comment for this story: "Minorities do not all think the same and do not report the same. Good reporters and editors should know that by now. It's embarrassing to me as a reporter at NPR that a senior editor here missed that point in 2024."

Some colleagues drafted a letter to Maher and NPR's chief news executive, Edith Chapin, seeking greater clarity on NPR's standards for its coverage and the behavior of its journalists — clearly pointed at Berliner.

A plan for "healthy discussion"

On Friday, CEO Maher stood up for the network's mission and the journalism, taking issue with Berliner's critique, though never mentioning him by name. Among her chief issues, she said Berliner's essay offered "a criticism of our people on the basis of who we are."

Berliner took great exception to that, saying she had denigrated him. He said that he supported diversifying NPR's workforce to look more like the U.S. population at large. She did not address that in a subsequent private exchange he shared with me for this story. (An NPR spokesperson declined further comment.)

Late Monday afternoon, Chapin announced to the newsroom that Executive Editor Eva Rodriguez would lead monthly meetings to review coverage.

"Among the questions we'll ask of ourselves each month: Did we capture the diversity of this country — racial, ethnic, religious, economic, political geographic, etc — in all of its complexity and in a way that helped listeners and readers recognize themselves and their communities?" Chapin wrote in the memo. "Did we offer coverage that helped them understand — even if just a bit better — those neighbors with whom they share little in common?"

Berliner said he welcomed the announcement but would withhold judgment until those meetings played out.

In a text for this story, Chapin said such sessions had been discussed since Lansing unified the news and programming divisions under her acting leadership last year.

"Now seemed [the] time to deliver if we were going to do it," Chapin said. "Healthy discussion is something we need more of."

Disclosure: This story was reported and written by NPR Media Correspondent David Folkenflik and edited by Deputy Business Editor Emily Kopp and Managing Editor Gerry Holmes. Under NPR's protocol for reporting on itself, no NPR corporate official or news executive reviewed this story before it was posted publicly.

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NPR in Turmoil After It Is Accused of Liberal Bias

An essay from an editor at the broadcaster has generated a firestorm of criticism about the network on social media, especially among conservatives.

By Benjamin Mullin and Katie Robertson

NPR is facing both internal tumult and a fusillade of attacks by prominent conservatives this week after a senior editor publicly claimed the broadcaster had allowed liberal bias to affect its coverage, risking its trust with audiences.

Uri Berliner, a senior business editor who has worked at NPR for 25 years, wrote in an essay published Tuesday by The Free Press, a popular Substack publication, that “people at every level of NPR have comfortably coalesced around the progressive worldview.”

Mr. Berliner, a Peabody Award-winning journalist, castigated NPR for what he said was a litany of journalistic missteps around coverage of several major news events, including the origins of Covid-19 and the war in Gaza. He also said the internal culture at NPR had placed race and identity as “paramount in nearly every aspect of the workplace.”

Mr. Berliner’s essay has ignited a firestorm of criticism of NPR on social media, especially among conservatives who have long accused the network of political bias in its reporting. Former President Donald J. Trump took to his social media platform, Truth Social, to argue that NPR’s government funding should be rescinded, an argument he has made in the past.

NPR has forcefully pushed back on Mr. Berliner’s accusations and the criticism.

“We’re proud to stand behind the exceptional work that our desks and shows do to cover a wide range of challenging stories,” Edith Chapin, the organization’s editor in chief, said in an email to staff on Tuesday. “We believe that inclusion — among our staff, with our sourcing, and in our overall coverage — is critical to telling the nuanced stories of this country and our world.” Some other NPR journalists also criticized the essay publicly, including Eric Deggans, its TV critic, who faulted Mr. Berliner for not giving NPR an opportunity to comment on the piece.

In an interview on Thursday, Mr. Berliner expressed no regrets about publishing the essay, saying he loved NPR and hoped to make it better by airing criticisms that have gone unheeded by leaders for years. He called NPR a “national trust” that people rely on for fair reporting and superb storytelling.

“I decided to go out and publish it in hopes that something would change, and that we get a broader conversation going about how the news is covered,” Mr. Berliner said.

He said he had not been disciplined by managers, though he said he had received a note from his supervisor reminding him that NPR requires employees to clear speaking appearances and media requests with standards and media relations. He said he didn’t run his remarks to The New York Times by network spokespeople.

When the hosts of NPR’s biggest shows, including “Morning Edition” and “All Things Considered,” convened on Wednesday afternoon for a long-scheduled meet-and-greet with the network’s new chief executive, Katherine Maher , conversation soon turned to Mr. Berliner’s essay, according to two people with knowledge of the meeting. During the lunch, Ms. Chapin told the hosts that she didn’t want Mr. Berliner to become a “martyr,” the people said.

Mr. Berliner’s essay also sent critical Slack messages whizzing through some of the same employee affinity groups focused on racial and sexual identity that he cited in his essay. In one group, several staff members disputed Mr. Berliner’s points about a lack of ideological diversity and said efforts to recruit more people of color would make NPR’s journalism better.

On Wednesday, staff members from “Morning Edition” convened to discuss the fallout from Mr. Berliner’s essay. During the meeting, an NPR producer took issue with Mr. Berliner’s argument for why NPR’s listenership has fallen off, describing a variety of factors that have contributed to the change.

Mr. Berliner’s remarks prompted vehement pushback from several news executives. Tony Cavin, NPR’s managing editor of standards and practices, said in an interview that he rejected all of Mr. Berliner’s claims of unfairness, adding that his remarks would probably make it harder for NPR journalists to do their jobs.

“The next time one of our people calls up a Republican congressman or something and tries to get an answer from them, they may well say, ‘Oh, I read these stories, you guys aren’t fair, so I’m not going to talk to you,’” Mr. Cavin said.

Some journalists have defended Mr. Berliner’s essay. Jeffrey A. Dvorkin, NPR’s former ombudsman, said Mr. Berliner was “not wrong” on social media. Chuck Holmes, a former managing editor at NPR, called Mr. Berliner’s essay “brave” on Facebook.

Mr. Berliner’s criticism was the latest salvo within NPR, which is no stranger to internal division. In October, Mr. Berliner took part in a lengthy debate over whether NPR should defer to language proposed by the Arab and Middle Eastern Journalists Association while covering the conflict in Gaza.

“We don’t need to rely on an advocacy group’s guidance,” Mr. Berliner wrote, according to a copy of the email exchange viewed by The Times. “Our job is to seek out the facts and report them.” The debate didn’t change NPR’s language guidance, which is made by editors who weren’t part of the discussion. And in a statement on Thursday, the Arab and Middle Eastern Journalists Association said it is a professional association for journalists, not a political advocacy group.

Mr. Berliner’s public criticism has highlighted broader concerns within NPR about the public broadcaster’s mission amid continued financial struggles. Last year, NPR cut 10 percent of its staff and canceled four podcasts, including the popular “Invisibilia,” as it tried to make up for a $30 million budget shortfall. Listeners have drifted away from traditional radio to podcasts, and the advertising market has been unsteady.

In his essay, Mr. Berliner laid some of the blame at the feet of NPR’s former chief executive, John Lansing, who said he was retiring at the end of last year after four years in the role. He was replaced by Ms. Maher, who started on March 25.

During a meeting with employees in her first week, Ms. Maher was asked what she thought about decisions to give a platform to political figures like Ronna McDaniel, the former Republican Party chair whose position as a political analyst at NBC News became untenable after an on-air revolt from hosts who criticized her efforts to undermine the 2020 election.

“I think that this conversation has been one that does not have an easy answer,” Ms. Maher responded.

Benjamin Mullin reports on the major companies behind news and entertainment. Contact Ben securely on Signal at +1 530-961-3223 or email at [email protected] . More about Benjamin Mullin

Katie Robertson covers the media industry for The Times. Email:  [email protected]   More about Katie Robertson

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‘Dimbulb’ Trump Torched After Rambling Attempt To Explain Gettysburg Goes Wrong

Overnight Editor, HuffPost

Donald Trump’s attempt to explain the Battle of Gettysburg took some strange verbal detours ― and his critics were quick to call him out over it.

“Gettysburg, what an unbelievable battle that was. The Battle of Gettysburg,” the former president said at a rally in Pennsylvania on Saturday. “What an unbelievable ― I mean, it was so much and so interesting, and so vicious and horrible, and so beautiful in so many different ways.”

Trump continued:

“Gettysburg. Wow. I go to Gettysburg, Pennsylvania, to look and to watch. And the statement of Robert E. Lee ― who’s no longer in favor, did you ever notice that? No longer in favor ― ‘Never fight uphill, me boys, never fight uphill.’ They were fighting uphill. He said, ‘Wow, that was a big mistake.’ He lost his great general, and they were fighting. ‘Never fight uphill, me boys!’ But it was too late.”

The ramble was made even more surreal when someone just over Trump’s left shoulder began making odd faces midway through:

Trump goes on a weird rant about the battle of Gettysburg and then notes of Robert E Lee that "he's no longer in favor. Did you ever notice that?" pic.twitter.com/hs9GjmCh6K — Aaron Rupar (@atrupar) April 14, 2024

Trump has been prone to verbal gaffes , stumbles and miscues , especially lately .

But even critics on X, formerly Twitter, were left perplexed by his attempt to describe one of the most famous battles in American history:

This is the part where Trump does a mash-up of the Civil War and Pirates of the Caribbean. https://t.co/H8aszJvzwF — Heather Thomas (@HeatherThomasAF) April 14, 2024

Trump: "Gettysburg! Wow!" What a dimbulb. — Stephen King (@StephenKing) April 14, 2024

So @realDonaldTrump Gettysburg was "Beautiful" and "it represented such a big portion of the success of this country." Really? Oh and "Robert E. Lee is no longer in favor"! Do you know why he is no longer in favor? Because he was a damn insurrectionist! On June 7, 1865, Robert E.… https://t.co/VUxRNPfLjR — Michael Steele (@MichaelSteele) April 14, 2024

His utter stupidity has always amazed me more than his psychopathy. https://t.co/X3pU976ln6 — George Conway (@gtconway3d) April 14, 2024

Trump: Gettysburg, what an amazing, horrible, just incredible, classy, terrible thing, really beautiful. I kinda went there, but had the wrong address. Robert E Lee a war hero that wasn’t captured, loser on the hill, but we miss him, really a great guy, believe me https://t.co/CZ0ABdwk1s — Jared Moskowitz (@JaredEMoskowitz) April 14, 2024

Trump, in his bizarro history lesson, has Robert E. Lee saying to his troops "Never fight uphill, me boys," as if he was the Lucky Charms leprechaun. https://t.co/vpkYzPTUsI — James Surowiecki (@JamesSurowiecki) April 15, 2024

“I go to Gettysburg, Pennsylvania, to look and to watch” I wish more people would note how frequently Trump says simple sentences with simple words that are still so utterly crazy that no one in history has ever said them before https://t.co/5bqRXHuFhY — Roger Sollenberger (@SollenbergerRC) April 15, 2024

Trump just gave his own Gettysburg Address. It was incoherent. https://t.co/3G04VaIF3b — davidrlurie (@davidrlurie) April 14, 2024

The man's brain is mush. Imagine thinking this demented buffoon should become the president of the United States. https://t.co/y6FvYJdr4v — Republicans against Trump (@RpsAgainstTrump) April 14, 2024

If we asked Trump which General led Pickett’s Charge at Gettysburg, is there any chance he would give the right answer? — Ron Filipkowski (@RonFilipkowski) April 14, 2024

Civil War historian here anyone who is a fan of the Confederate traitor and enslaver Robert E Lee should not ever be the President of the United States. https://t.co/SkcA8MoL2H — Manisha Sinha (@ProfMSinha) April 14, 2024

Guarantee this is the totality of what Trump knows about Gettysburg https://t.co/p6D2M48QWW — Greg Pinelo (@gregpinelo) April 14, 2024

“Never fight uphill, me boys.” Was Robert E Lee an Irish pirate? https://t.co/OVCxH0IuSD — Shannon Watts (@shannonrwatts) April 14, 2024

Trump is one of those idiots who asks Gettysburg park rangers if the monuments were there during the battle. — Bob Cesca (@bobcesca_go) April 14, 2024

Donald Trump always talks about history (or, well, *anything*) like a fourth-grader doing a book report on a book he didn’t read. — Mrs. Betty Bowers (@BettyBowers) April 14, 2024

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