Anna Funder’s Stasiland and Kazuo Ishiguro’s Never Let Me Go bring together two complex, poignant worlds of “personal stories” and subjective narration of what once was, an individual's place in history and its aftermath, especially when the world attempts to move on.

Context

Stasiland

Establishing a literary allusion to Lewis Carroll’s Alice’s Adventures in Wonderland in the title, Funder’s narrator of Anna fills the role of Alice as she stumbles upon and explores the absurd and unjust world of the German Democratic Republic (GDR). Driven by an almost naive curiosity, akin to Alice herself, Funder conducts extensive interviewing to uncover not only the stories and experiences of the victims of the regime, but also of the Stasi, the “internal army by which the government kept control”. Through her literary journalism, Funder creates an intimate and sensory experience for the reader, extending beyond factual occurrences to capture the “horror-romance” of East Germany, “a country which no longer exists” but its inhabitants, victims and perpetrators continue to live on.

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TIP - Research the history of the German Democratic Republic, the rise and fall of the Berlin Wall and the influence of the Soviet Union within East Germany, in contrast to West Germany. Understanding the backbone of “this land gone wrong” in which Funder delves into gives much greater context for the significance of her work and ideas in which you can explore in your writing.

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Never Let Me Go

Ishiguro delves into human mortality through the platform of a science fiction world, where the focus is ultimately on the prospect of an existence where one’s life is knowingly shortened, and what becomes important with such a backdrop. Readers are introduced to the concept of ‘clones’, existing as live incubators of organs that will be later harvested for others. Perceived by society as less than humans, Ishiguro’s narrative focuses on clones who spent time at Hailsham, a boarding school ‘experiment’ in England which attempted to provide a more ‘humane’ education and upbringing for clones, and their sheltered perspectives on their existence, their mortality and purpose.

Authors’ views and values

Why have Funder and Ishiguro written what they have written?

Funder’s dogged pursuit to uncover and reveal the “portraits” of individuals who lived through the GDR was prompted by West Germany’s dismissal of, and use of stereotypes when these individuals were concerned, and the assumption that “no-one is interested in these people”. She discovers that “things have been put behind glass”, in the forms of museums and metaphorical mausoleums, “but they are not yet over”. Stasiland therefore acts as a work that champions the importance of memory, of remembering and of history, as Sisyphean of a task as this inevitably is because it is “working… against time”. In addition, Funder’s purposeful choice to include the perspectives of the Stasi themselves opens up another realm of understanding to the reader. It allows the audience to examine the Stasi's motives and justifications, their humanity or lack thereof, of the lessons learnt and unlearnt, as a means of framing the entire regime and of framing the spectrum of humanity.

Whilst Ishiguro’s universe differs greatly when placed alongside Stasiland, his characters also belong to a world that no longer exists, as their Hailsham upbringing evolves into a historical artefact, reflective of a world that “wanted [the clones] back in the shadows” and which remained oblivious to the reality of the clones’ existence. Ishiguro gives voice to the clones; the “poor creatures” who otherwise possessed no voice or recognised humanity in this world, and no purpose apart from their utility as organ donors. These individuals are shown to be no less human than you and I, and it is in their sheltered lives, headed towards “wherever it was [they were] supposed to be”, which permits the reader to examine their own life purpose and meaning, and how a clone’s existence is ultimately reduced in not only length, but also ability and capacity.  

Both texts confront uncomfortable truths about humanity and reality, the treatment that certain individuals were unfortunately subjected to which resulted in their dehumanising, and which “broke” them, sooner or later.

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TIP - Reframe this question for any text you are studying - including text response! There is intent and purpose underlying each and every text that is definitely worthy of thorough unpacking and consideration; the thinking you will do will help to further your analysis and comparison considerably.

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Themes and Comparison

What are the big ideas underpinning the texts? How are they explored? What sorts of comparisons can be drawn between the two texts?

At LSG, we use the CONVERGENT and DIVERGENT strategy to help us easily find points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, check out my How To Write A Killer Comparative. I use this strategy throughout my analysis of the following themes.

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Dystopian reality

Stasiland: As prompted by the VCAA 2015 exam, the GDR is indeed ‘cruel and absurd’, especially in the methods the nation constructed and enforced this society, as this ultimately broke the souls of innocent individuals, and left questions unanswered and scars unhealed for many. It showcases how what could potentially be described as 'idealistic' in terms of government control can become grotesque, how otherworldly and Orwellian this recent history seems, and how the perspectives of victim, perpetrator, outsider and more are not restricted to the land of the GDR, but to today as well. In addition, as Funder discovers, these perspectives are closely intertwined, in which certain individuals of the Stasi were victimised too, and could not remain in the "group in the know [as] one of the unmolested".

Never Let Me Go: The novel’s context of clones is removed from the reality that readers are familiar with, and as Ishiguro focuses on the clones’ perspectives throughout, there always remains an element that feels 'off' and ’not quite right’ about who they are and the purpose of their existence. Whilst the context of Never Let Me Go differs greatly from a regime with "the most perfected surveillance state of all time", it highlights an unsettling reality, in which scientific advancement has resulted in a society benefitting from the clones' existence and from organ harvesting, but who are also rejecting of the possibility of their humanity. The clones may never be able to perceive and fully understand this cruelty or absurdity themselves, but this does not mean they are not victims of this, for a fate that they could not choose.

Possible points for comparison: The victimisation of individuals in both texts, whether it was internalised or ushered into oblivion is central to the absurd worlds of Stasiland and Never Let Me Go. The clones are in a way, victims from birth, and unable to avoid their shortened existence and purpose, whereas those in the GDR who were subjected to surveillance, interrogation, torture, etc. became ensnared and damaged beyond repair; the aftermath of which they were unable to escape from. However, the closing of Hailsham and the falling of the Berlin Wall spell out different fates in the two texts - those in Stasiland may be "fettered" by their past that is "not ever, really, over", but are provided a future in which there is hope for rebirth in the "green", "lush" city of Berlin and beyond. On the contrary, the clones are only able to move toward their fate, towards "wherever it was [they are] supposed to be" and towards completion. Coupled with the naivety accompanying the clones' existence, their acceptance of what is ahead and the lack of awareness surrounding their victimisation, readers are prompted to consider the cruelty of such existence, and whether there is greater tragedy in having your "soul buckled out of shape, forever", or in never knowing who you really are.

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The act of remembering

Stasiland: In discussing and unearthing a recent history of a "bygone world" that many individuals wish to "pretend it was never there", Funder's attempt to create and immortalise "portraits" of East Germans raises questions about how events and lives are remembered and forgotten. Especially when elements of this past in the GDR could not be "pinned down by facts, or documents", the detrimental impact of a lack of recognition and acknowledgement of one's past, especially one filled with trauma, is thereby highlighted by Funder. When the rest of the world deems the GDR and the Stasi to only belong "behind glass" in museums and yet it is "not yet over" for those who are still suffering and carrying scars, physical and psychological, the purpose of Stasiland rings clear and true. Whilst it is a Sisyphean attempt, "working against forgetting, and against time", through Stasiland, Funder ultimately gives a voice to the "personal stories" comprising history, before there are "none left".

Never Let Me Go: Through the lens of Kathy H's narration and the recollection of her memories surrounding her upbringing, readers uncover the pieces of her existence as moments of her past begin "tugging at [her] mind". Memory itself can be fickle, recording and preserving certain experiences but not others, and as time passes, "fading surprisingly quickly" before being lost in the ether of one's past. Ishiguro's continual mention of Kathy's memories of an event, of her years at Hailsham and beyond almost lulls the reader into overlooking this element of the narration - in which the reader's understanding is built upon an uncertain and incomplete foundation of facts; similar to how the clones' "sheltered" understanding of their world came to be. After Hailsham closes, its existence recedes into the memories of the clones, and although Kathy declares that the memories will be retained "safely in [her] head", upon her completion, this will also be lost, and Hailsham will be further diminished in history as a 'failed experiment' and one day forgotten.

Possible points for comparison: The valiant efforts to remember and preserve the once-was is woven into the fabric of both texts, despite the inevitability of forgetting as death and 'completion' claims those who lived through East Germany and Hailsham respectively. When the recent history of the GDR becomes a "lost world", and the importance of remembering what transpired is being superseded by the innovation and process of the present, it opens up room for the same mistakes of the past to be made again. Hailsham was an attempt to create a more idealised and humane upbringing for the clones, and to showcase their humanity in a society which rejected this, and the boarding school's closure reflects a failure in which any previous successes will never be acknowledged. Memory, and by extension, one's understanding of the past is what enables change in the future; in attitude, in approach, in the treatment of others, in decisions, in growth, as an individual and as a whole. With its gradual loss, it may also be ineluctable that history repeats itself in one way or another.

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Subjective narration, stories and lives

Stasiland: Stasiland itself is comprised of the stories of human lives, and includes various individuals' tenacity, strength and courage to their vices, cruelty and cowardice. By seeking out not only those who were victims of the regime but also perpetrators, Funder examines the many complex facets of human nature and the irreversible impact of the GDR on East Germans and who they became or were broken into. However, the personal involvement of Anna as a narrator and most importantly, as an outsider to the GDR provides a subjective perspective of this history. Whilst this has received criticism, it is important to consider how the human experience itself is subjective, as is never being able to truly understand another individual's story as the exact experience is theirs alone to hold and perhaps be "fettered" to; both of which are evident in Stasiland.

Never Let Me Go: Ishiguro constructs a narrative in which Kathy H and the clones are assumed human individuals from the text’s introduction, and it is only as the clones uncover how they may be "troubling and strange" that the reader gains a sense of how they are perceived in society as sub-human. However, the pre-determined fate and mortality of these "poor creatures", especially as they are born and 'complete' seemingly without a scope of awareness beyond their exposure during their upbringing and their sole purpose as organ donors - renders their lives even more heart wrenching and tragic - and human. The simplicity with which Ishiguro details the musings and reflections of Kathy H, and in the concluding moment of her imagined fantasy of Tommy, as not "out of control" as she may felt, readers cannot ignore the stark juxtaposition with the circumstances of her existence, in which she ultimately has no control over her identity as a clone. To grasp autonomy, to defy and deviate from being "wherever it was [she] was supposed to be", even for a moment, Ishiguro portrays a courage which is undoubtedly human.  

Possible points for comparison: When faced with the stories of lives not our own, but each individual possessing elements which resonate and resemble us, it is much more possible to understand their struggles, their intentions and their experiences. Consider the story behind each face, each character, each name, not only in these two texts but also other texts and even our lives, as we are fundamentally more similar than different when compared to each other, even in the face of separation and distinction.

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Ultimately, Funder and Ishiguro's texts probe the existential question of what it means to be human and what defines one's identity, and how it is shaped by experience, fate, intentions and actions. Question the texts, question the characters, question yourselves, and you'll discover worlds and perspectives closer to home than the GDR or Hailsham may initially seem.

When Lisa suggested that I blog about what teachers want in their students my immediate response was “Don’t we all want the same things!” We want our students to exhibit the insight and dedication that signals a top class learner. Additionally, it is obvious that teachers want students who are interested in the subject. Interested students make interesting lessons.

However, in my pondering on this question I have realised that for me students who are willing to engage with the text and commit to the task are always preferable.

Especially in English your teachers are looking for your willingness to explore your own ideas rather than rehash what others think. Your fresh perspective is welcome in a world where it’s all been said before… (and again!)

Another thing I like to find in a student is a unique style. There’s something sincere and credible about writing that speaks with its own distinct timbre, its individual structure and its authentic voice. This is the sort of writing that has you wanting to read on rather than doggedly plodding along to the end wishing that they had stuck to the lower word limit.

I can be a touch (*ahem*) pedantic and traditional in my views. I mean I love a page that is neatly written in a legible well-formed hand. There’s no chance of missing your meaning when your teacher can see what you’re saying. And something I instil in my students if they have not come to me already equipped with it is the ability to write on alternate lines only – I need a place to comment. You need a place to edit and this layout guards against sensory overload for your marker. Being willing to pay attention to apparently trivial details like this is the difference between a good student and a top student.

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10 popular questions from VCE students answered by a VCE teacher

1. My teacher says I have problems with my expression. What can I do to fix this?

Lisa has already posted one of the best ways to fix your expression: that is to read it aloud. The natural rhythms of your expression will be clearer to you and you will find that your ‘mouth’ often makes corrections as you articulate your prose.

Another excellent way to find your voice is to read quality writing. Make it a habit to read a few pages every day. You can use the books on the VCE reading lists, you can go to your local library, find classics online and look at the opinion columns in the city newspapers. The more you read the better you will be at phrasing your ideas succinctly.

2. Teachers often say, “you need to develop your essay more”. What does this really mean?

This means that you look beyond what the topic statement or prompt demands that you address and explore what it invites you to consider.

Too many students are content to skim along the surface of the text. Take a deep breath and dive right into the depths of the ideas and points of views that are proposed in each text.

Formulate your own ideas and then develop them: explain and elaborate. Pick a thematic concern in one of your texts and follow its progress through the text; that way you will understand it with greater awareness of the author’s intentions.

3. In regards to Text Response, should students be ready to write on both their texts for the exam?

I would encourage students to be prepared for both texts. Apart from the extra analysis practice you get by preparing for both texts, you can never be 100% sure that you have adequately covered all options for the type of reading and responding topic you may face.

However, if you know your text intimately, if you have explored its nuances thoroughly and are so familiar with its narrative that it’s like your best friend then, yes, going into the exam with the plan of responding to one text will be possible.

4. Is it important to make my essay ‘sound’ good by using ‘sophisticated’ language?

One of the criteria for a successful response and a regularly commented upon aspect of a successful essay is your ability to show “strong language skills”.

Having a broad vocabulary base – a word bank – will enable you to express your ideas fluently and with eloquence. Additionally, used appropriately (no Malapropisms please like the student who wrote that “parents these days pamper to their children’s every desire”) some sophisticated words will add gloss to your piece. Think of BIG words as the seasoning of your essay – there to enhance, to titillate your reader to continue, not to overpower her. This is definitely a case where  “less is more”. A little advanced vocabulary adds depth and interest; too much and meaning is sacrificed to effect.

5. In regards to Writing in Context, which is the easiest form to score well in? (for example: short story, essay, poem, speech etc.)

Note: This question is no longer relevant to the current English study design.

No one form is easier than another – it depends on the strength of the individual student. Find your strengths and cater to them. Perhaps you are skilled at taking a stance and validating that position with reasoned and logical rhetoric. If so then you should consider a form of the persuasive genre. If you are an adept storyteller with a flair for creating believable characters then opt for a type of creative response.

The way to excel is more about your authenticity as a writer rather than the type of text you produce. 

6.In regards to Writing in Context, would it be best to stick to a conventional essay structure or write  in the form of a hybrid? (for example, merging creative with expository writing.)

Note: This question is no longer relevant to the current English study design.

This reminds me of how subjective the marking process can be. I’m not a fan of hybrids, although according to the assessors’ comments there have been some successful results by students who choose to take this approach.

I think the hybrid type of response is better suited to the practiced, confident and polished writers amongst you.

Again, your score won’t depend on the form in which you decide to write your piece but on the degree to which you satisfy the criteria.

7. How should I prepare for the exam?

You should prepare for the exam by reading and rereading, watching and watching again, thinking and challenging those thoughts. You should do this until you come to a point where you know the text so thoroughly that you are equipped with enough knowledge about the text to enable you to respond to any topic with finesse.

You should discuss the texts with your friends, your fellow students, your teachers and your tutors.

You should look at study guides and compare your ideas to those you find in the many guides available.

You should brainstorm topics and write some full-length essays under exam conditions.

8. During the exam, ideally which essays should be approached first, second and last, and why?

There’s no set way of doing the exam. Some students like to attack the part of the exam that they are most confident about first – that can save valuable time for the more challenging section. Do it the way that you feel more comfortable with.

Others find it more useful to do the hardest first and get it out of the way. One successful student I know wrote half of each essay in order and then went back and finished each. Only attempt this approach if you are super confident about your voice and your capability for each section.

9. How can I avoid ‘retelling the plot’?

Only tell the story when it is essential for explanation and elaboration. A great tip was passed on to me by a student who attends one of the bigger boys schools: to test if you are telling the story see how many of your sentences express an opinion – the key word here is opinion, obviously.

Assume that your teachers and markers know the text and use the events from your selected novels, plays or films to validate your ideas. You are required to make relevant textual reference in your discussion as a means of evidencing your thoughts, so you cannot omit all elements of the narrative – just be fussy about what you include.

10. How can I make my conclusions more interesting?

A conclusion should be just what its name implies – it should show the position that you have reached having explored the topic (question, statement, media text). One of the most tedious ways to conclude is the one in which you summarise what you have already written. Another no-no is the restatement of your introduction.

You should make your conclusion show what you have deduced after your exploration of the required task. It is appropriate and useful to comment on authorial message in the conclusion. Just this one amendment from the tired old approach will raise your score.

This guide was written by a past VCE teacher who wishes to remain anonymous. Thank you ‘VF’ for your expert advice!

Don't forget to also check out Our Ultimate Guide to Oral Presentations for everything you need to know for Oral Presentations.

Since September 2014, the current affairs has been raging with numerous controversial topics – perfect for your oral presentation! Here are some of the more interesting issues that would be a good starting point for your oral. Remember to offer an interesting and unique argument, even if it may mean adopting the unconventional or unpopular point of view on the issue!

1. Should medicinal cannabis be legalised in Australia?
2. Should US anti-vaccination campaigner Sherri Tenpenny be allowed to give talks in Australia?
3. Should children be vaccinated?
4. Should ‘pick-up artist’ Julien Blanc have been banned from visiting Australia?
5. Is social media negatively impacting on student studies?
6. Should women be allowed to breastfeed in public?
7. Should we have more stringent surrogacy laws?
8. Should music be free?
9. Freezing women’s eggs
10. Ebola
11. Sexualisation of women in the media
12. The media’s portrayal of ‘terrorism’
13. Islamophobia
14. Freedom of speech (Charlie Hebdo)
15. Doctor co-payments
16. GST reform
17. Gender equality
18. University deregulation
19. Creativity in schools
20. Should children be allowed to roam unsupervised by their parents?
21. Should VCE English be compulsory?
22. See Oral Presentation Issues in 2014 for other ongoing issues

Updated 19/01/2021

Contents

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

‍‍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?

eBooks

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
• Contention
• 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:

• Topic sentence
• Example
• Evidence
• Linking 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.

Conclusion

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.

Listening is always viewed as the easiest section in an EAL exam, however, it is also the easiest section for students to lose marks as many of them may carelessly misread the question and/or comprehensively fail to answer the question. I personally find listening really challenging as it requires you to concentrate on multiple things at the same time, for example, the characters’ main contention, emotions, tone shift, and the context of the recording. However, as long as you do more practice, you will soon be able to master the listening skills! Here are the 4 steps that you will have to know if you want to do well in listening!

1. Read the background information of the text

Use your reading time (15 minutes) wisely and spend around 2-3 minutes in the listening section. The background information of the text is extremely important as it tells you the context of the recording which can also give you a basic idea of the characters involved in the text and the content they will be talking about. From the background information quoted from the VCAA 2019 EAL Exam, you will be able to recognise the two characters (Sue and Joe) involved in the text and you can also relate their conversations to the garage sale.

“Sue lives in a small seaside town. She presents a regular podcast called Sue’s Local Stories for the local radio station. Today she is talking about garage sales with John, who has just moved to the town. A garage sale is a sale located in a person’s garage or in front of their house, where they sell their unwanted items.” - Background information of Text 2

2. Scan through the questions carefully

Look for the keywords in the question, such as the 5W1H (Who, When, Where, What, Which, How), the character names, and the number of points that needs to be answered in each question. READ THE QUESTIONS FOR EACH SECTION CAREFULLY. That’s the only piece of advice I can give you to avoid losing marks on careless mistakes. Usually, the questions in listening are quite straightforward and easy to follow. Hence, it is particularly important for you to understand what the question is actually asking and what you are expected to answer in order to secure full marks in that specific question.  

Examples of the 5W1H Questions

• Who is he referring to when he says “You”?
• When did he open his first bookshop?
• Where did he go after his graduation?
• What message is he trying to convey in his speech?
• Which phrase did he use to express how dry it was in the desert?
• How does he express his anger?

3. Note taking

You should be using the spaces provided in the exam answer booklet to jot down any key words and phrases that are related to the questions. Do not bother to fill in the answers on the answer line just yet, as you are very likely to get distracted, hence, it may increase the risk of missing the answer for the next question. Remember that your notes should be as concise and clear as possible so you will be able to write down the answers immediately once the recording stops.  

Examples of notes

Question 1: Which type of animal does Sarah think is cleaner? Give an example and comment on her delivery.

• Cat
• “MUCH MUCH cleaner” → emphasis
  

Question 2: How does Ryan show his feelings about plastic waste? Comment on his language choice and delivery.

• Exclaims → “putting sea life in a serious situation”
• Critical tone → emphasise the harm caused

4. Focus on the questions that you’ve missed

Bear in mind that you will have the chance to listen to the recording two times in total so please DO NOT stress if you miss out any answers or you are not sure about the answers after the first time. Highlight the questions that you have trouble with and focus on them when the recording is played the second time. 

If you have any spare time, I would recommend you to go through all your answers and check them in case you have any careless mistakes. Alternatively, if you are really confident with all your answers in the listening section, you could definitely start doing other sections in the exam, such as the Language Analysis and Text Response section.

Types of Questions you may get in Listening

In this section, I am going to introduce a few question types that can be seen in SACs and EAL exams. You will be able to perform well in all listening tasks if you do enough practices and are very familiar with these different questions:

• Support your answer with one piece of evidence from the text
• Give an example of delivery and language use to support your answer
• Give an example of the character’s indirect language
• What is the purpose of the text?
• Describe the character’s tone
• Describe the interaction between the characters
  

1. Support your answer with one piece of evidence from the text

This is a basic question type that can be seen in nearly every single listening task. It just means that you will have to quote a word or a phrase from the text in order to support your answer. Please ensure that your spelling is correct and the phrase that you quote is in the exact same wording as what the characters have said in the recording. You will only get the mark for your evidence if the above two rules are followed.

2. Give an example of delivery and language use to support your answer

You have to pay attention to the tone, pace and wording of the characters in order to answer this question. This kind of question is kind of tough, however, as long as you can memorise couples of examples of delivery, you will be able to answer this question effectively. 

Here are some examples of delivery and language use:

• Repetition — “No, no, no”
• Imperatives — “Do not do this…”
• Fast pace — “[quickly] What are we supposed to do now?” 
• Pausing — “But…”
• Place emphasis on words — “We have to STRIVE for our rights!”
• Increased volume
• Asking a question rather than making a direct statement
• Emphatic tone — “Do what I said!
  

3. Give an example of the character’s indirect language

An indirect language refers to an expression of the content of a statement in a longer or unclear fashion. It is often used in negotiation, diplomacy and in different types of embarrassing situations which can avoid the person from directly saying what he/she means.

Here are some examples:

“Oh… well… I am just browsing”

"Ummm… I am still thinking about it”

4. What is the character’s main argument?

In order to answer this question, you will have to pay attention to the standpoint of the character and be able to find the strongest point raised by him/her in the text. That’s why you have to read the background information of the listening task carefully and deliberately before you actually start looking into specific questions. This will enable you to have a basic idea of the character’s viewpoint towards the issue. Besides, the aim of this question is to test your understanding towards the text and your ability to interpret the character’s reasonings. Therefore, I would recommend you to focus on how the character is structuring his/her argument in order to help you to find the strongest argument. Bear in mind that your answer will have to be precise in order to secure full marks. No marks will be awarded to you if your answer is vague and not straightforward.

5. Describe the character’s tone

Here are some examples:

• Outraged tone — “Can you stop?”
• Astonished tone — “Wow!”
• Nostalgic tone — “I missed my hometown”
• Patriotic tone — “I am proud to be an Australian.”
• Amiable tone — “Nice to meet you.”
• Encouraging tone — “You can do it!”
• Accusing tone — “How could you make that mistake!”
  

You can also read through 195 Language Analysis Tones if you want to learn more tone words in order to drastically improve and expand your vocabulary. You are encouraged to memorise tone words as you will be able to apply them on your Language Analysis section as well!

6. Describe the interaction between the characters

Words to describe positive interactions:

• Genuine
• Direct
• Smooth
• Efficient
• Intimate
• Friendly
• Caring
• Polite
• Kind

Words to describe negative interactions:

• Disrespectful
• Awkward
• Tense
• Strained
• Defensive
• Unpleasant
• Sarcastic
• Damaging
• Unfriendly

For more resources on the Listening Exam and VCE EAL, check out The Ultimate Guide to EAL.  To see further advice, resources and samples for listening practice, see EAL Listening Practice And Resources (Part 1), EAL Listening Practice (Part 2), Tips on EAL Listening and How To Take Speedy Notes During Listening Component of VCE EAL Exam.

What’s your exam nightmare?

Mine was always that I would open my booklet in reading time and find essay topics that I had never considered, and that I would waste time just trying to figure out where to start in tackling my essay.

That’s not what happened to me, because with that in mind, I spent all of my SWOTVAC planning essays for every topic my teacher could think of. So, in my exam, I was lucky enough to be able to write a Text Response and a Reading and Comparing essay on topics very similar to essays I had already written. This meant that for the first hour or so of my exam, I was quietly confident that I would be more than fine.

But the English exam is three hours long, it’s early in the morning, you switch writing styles three times. If you’re human, it’s scary! So many students put much more pressure on themselves than they can actually handle, and I was one of them. Halfway through my exam, I completely lost my train of thought. I was suddenly very overwhelmed and all I wanted to do was spit out my last two essays and get out of that hall. Because of this, I walked out of my exam teary - I thought those had to be the worst essays I’d ever written!

Luckily, I was wrong about those essays. Despite how frazzled I got during my exam, I stuck to a few key strategies to make sure I didn’t completely derail. In hindsight, I know that without them, I wouldn’t have overcome my “mid-exam crisis” and done as well as I did.

Here are my tips for staying on track and getting past any panic you might feel during your exam.

1. Before your exam: Prepare for the 3 hours of writing!

It’s obvious that preparing your mind by studying and practising is the biggest essential before your English exam. However, what use is your knowledge if you spend your exam trying not to fall asleep?! If you’re tired in your exam, you are more than likely to lose your train of thought and end up stressed. I know you’ve probably heard the ‘self-care’ talk many times, so from student to student, let me sum it up for you:

For the 1000th time - sleep! Honestly, you can’t cram the night before for English. If you don’t know your content by 9PM the night before your exam, you’re not going to know it by the morning. You’re better off getting rest so that you can think clearly, work with the knowledge you have, and perform your best in the exam. 

Eat well! My breakfast favourite during exams was oats with raspberries and banana - a bit of sugar, a good amount of carbs, and having a nice brekkie always put me in a good mood! There’s also your last-minute sustenance - even after my good breakfast, I always ate a banana or a mars bar right before I walked into an exam, because they’re great for an immediate energy boost.

2. During your exam: Start out with a plan!

Taking a minute or two before each essay will be your lifesaver when you’re mid-way through your exam and start second guessing yourself. Before starting each essay, jot down a basic plan that will help you remember your key points and contention. For example, say my topic is “Medea is symbolic of the intelligent woman caged in by the patriarchy”, my plan might look like this:

• Contention: agree to a degree - caged in & intelligent BUT not symbolic of women in general
• Body para 1: how she is caged in - marriage & infidelity, exiled by men, not given choice
• Body para 2: intelligence - outsmarted Creon & Aegeus (manipulation) - intellectual superiority over Jason
• Body para 3: not symbolic of women - demigod &sorceress - filicide - deus ex machina

While that may not make much sense to you, as the person writing the essay it helps me remember what my key points are, which is incredibly helpful if you start feeling overwhelmed.

3. Take a breather.

Yes, the English exam is all about time management, and so I can understand wanting to push through any panicky feelings, and keep writing when your time is precious. But if you’re not thinking clearly, you’re probably not writing clearly. Give yourself one minute. Watching the clock, think about nothing for a couple of seconds. Drink some water and give your brain a break. Then, as your minute comes to an end, calmly think about the approach you’re taking in your essay (again, this is going to be easier if you have a plan), and start a fresh sentence!

Overall, preparing yourself to maintain a clear head is the key to success. These tips helped me get past what felt like a “mid-exam crisis”, and I’m sure they’ll help you do the same. Stay positive and confident that you’re doing the best work you can, and keep these strategies in mind to help yourself out of any sticky situations. Good luck!