Go ahead and tilt your mobile the right way (portrait). The kool kids don't use landscape...
Over the years I have seen many exceptional essays. What has really surprised me in the past is when I compare high-scoring essays. In one instance, I read one English student's essay (raw study score of 50) after another student's (raw study score of 46). What do you think contrasts between a student who achieves 50 and a student who achieves 46 (bearing in mind of course, that these two scores are already amazing!)? For me, I had assumed that a major contributor to the perfect score of 50 must be better vocabulary. You would think so too right?
NO! In fact, the student of 46 had embedded heaps of complex and amazing-sounding words in her essay - much more than those used by the student who obtained a 50. Oddly, the perfect scorer had hardly any complex vocabulary in her piece. But this ironically, was the strength of her essay. Because she wasted little time on trying to throw in lots of fancy vocabulary, she was able to focus on exploring complex ideas in her essay instead. This is what examiners are after. So if you're struggling with vocabulary, don't worry - not all hope is lost!
One of the biggest struggles is to 'improve vocabulary' in VCE. So many students are caught up trying to improve their vocabulary or using 'big words' that they don't realise the worst thing yet: using bigger words can actually hurt your essay. Yes, you read it right. Even research has actually found that using complex or big words in an essay can backfire for the student!
Reasons why using big words can worsen your essay:
1. Obstructs clarity of ideas.
Readability is the ease with which a written text can be understood by the reader. In other words, how easy it is to read an essay and how enjoyable that read is. I'm sure you've read a novel in the past that was quite difficult to read because of its extensive vocabulary. On the other hand, you will find a book much more enjoyable to read when you're not struggling your whole way through deciphering words. The same applies to essays. Examiners focus heavily on your exploration and interpretation of ideas. If you have great ideas, only to overload with vocabulary just look to make yourself look smarter, it's only going to make it harder for your examiner. Just like if you had simplistic ideas and filled your essay with fancy vocabulary, it's not going to make the idea seem any more insightful. See the example below:
Student 1: 'In a plethora of elements gender inequalities prevail over the women of Nigeria.'
Student 2: 'Gender inequalities prevail over women's lives in Nigeria.'
The 'plethora of elements' is just another way of saying 'several aspects'. By trying to use nice vocabulary, this student actually reduced the meaning of their sentence, making it harder for the teacher to understand the student's idea. Remember to keep your essays straightforward, don't drown them with vocabulary that's unnecessary.
2. You seem dumber.
No offence. Writing with bigger words doesn't mean you're smarter. It is very easy to pick up when a student is simply using a thesaurus to find synonyms - because your sentence will look like this: basic basic basic COMPLEX basic basic COMPLEX basic basic. There is a clear discrepancy! Don't use 'utilise' when you can just write 'use'. You seem pompous (no offence, again!). Write clearly and simply if you can, and you’ll be more likely to be thought of as intelligent! This meme below sums up the point very well:
3. You're using it wrong.
Using a similar word is not always the RIGHT word. Let's take the word 'persuade' as an example. We're always trying to find new synonyms for 'persuade' in Language Analysis (and I do have a list for you here). The word 'entice' is by no means similar to the word 'coerce' because of the different connotations they are both associated to. To entice is to persuade through attraction or tempting the reader by offering an advantage, whereas to coerce is to persuade (an unwilling person) to do something by using force or threats. Be wise when you choose synonyms, because they do not carry the exact same meaning as the original word you intended to use!
KEY TIP: Do not use big words, do not use small words, use the RIGHT words.
So, how do you find the right word bank for you?
The conditions of your vocabulary bank should be suited to your specific needs. A focus on a need or theme enables more visible connections within the vocabulary bank. Having those connections will make it easier to 'memorise' new terms. Instead of compiling a dense 20-page glossary, try breaking your vocabulary bank up into smaller, specific sections like 'new verbs'.
Now, let's find new verbs instead of the typical bolded words below to express the author's intention:
The author argues
The author shows
The author criticises
The author supports
- Branch off 'argue' (Fervent tone): contends, asserts, posits, proffers…
- Branch off 'criticises' (Negative tone): condemns, denigrates, lampoons, parodies…
- Branch off 'supports' (Positive tone): praises, endorses, exalts, lauds…
Next, take your new vocabulary from storage to use:
After clarifying their definitions, try using some of your new words in a sentence or a paragraph, relating to either your texts or analysing argument. You can also extend your vocabulary bank by adapting the words to different sentence structures:
Example 1
Original sentence: The author criticises the superficiality of our consumerist culture.
Substitution:Theauthor condemns the superficiality of our consumerist culture.
Adaptation: In a condemnatory tone, the author delineates the ostentation of our consumerist culture.
Example 2
Original sentence: The author argues that gender is an arbitrary concept.
Substitution: The author asserts that gender is an arbitrary concept.
Adaptation: Asserting that gender is an arbitrary concept, the author explicates the categorist nature of human understanding.
Using convoluted expressions can be fun or exasperating! Whilst demonstrating extensive vocabulary may raise your mark, the key is to ensure harmony between your words and your understanding.
Remember: Do not use big words, do not use small words, use the RIGHT words.
The second half of this blog post was written by Joyce Ling.
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.
For an overview of English Language, the study design, what’s involved in the exam and more, take a look at our Ultimate Guide to English Language.
How To Effectively Build an Essay Evidence Bank
Essays in English Language require contemporary examples of language being used in Australia, in order to justify your response to the topic. English Language essays are often said to only be as good as the examples that are used, so it follows that your essays will only be as good and interesting as the examples that you find. It’s a really good idea to start collecting examples, or evidence, in a “bank” from day one, and throughout the year as you prepare for essay SACs and the final exam.Great examples not only lead your discussion, but also make your essay more interesting and therefore stand out.
What Makes a Good Piece of Evidence?
Primarily you want your evidence to comprise examples of how language is being used within a specific context in contemporary Australia. For instance, you might explore how leaders in Australia use overtly prestigious language with Victorian Premier Daniel Andrews’ use of the formal vocative phrase 'my fellow Victorians' at a press briefing. You may not always be able to find a specific instance of a particular language feature being used, which can be especially true for language that is not frequently used in public contexts, such as slang and ethnolects. It is okay to just have general examples that you discuss in these instances; perhaps the ellipsis (omission of understood words) of auxiliary verbs in varieties such as Greek Australian English. What is important is that the majority of your examples are actually instances of language features being used, and not simply a quote of someone else’s analysis of language, such as a linguist’s quote. Such quotes can be used in essays, but should complement your own discussion of your own examples.
Good examples must also be 'contemporary', as per the majority of essay prompts. As a general rule of thumb, ask yourself if the example you have is older than two years, and if so you may want to think of something newer. This does not mean you can never employ an older example. For instance, you may want to discuss language change in an essay, which sometimes necessitates discussing the historical context of certain language features.
How To Build an Example Bank
Many students find it highly beneficial to create a table or list of examples that they will practice and get comfortable with – you cannot bring this into the exam of course, but it is a very effective tool for preparation. In your table or list, consider including the following:
Your example itself (this may not always be just a quote, sometimes you might have a phonetic transcription, for instance)
The context that surrounds the example
The metalanguage that you can use to analyse it
The areas of the study design and essay topics it can cover
A few short sentences of analysis
An example is given below:
These examples do not necessarily have to be something that you put a huge effort into going out and finding, so long as you make sure that you write down interesting language features that you come across in your day-to-day life. Keep an eye on places like the news, social media (including emojis and text speak), and any Australian television, radio, podcasts you watch or listen to. You will of course also discuss different examples of contemporary language use in class too, so make sure to add them as well.
Getting evidence is only step one of preparing for essay writing in English Language, but is the most important step for writing interesting and engaging essays. Keep in mind that this doesn’t have to be a solo activity; collaborating with classmates and group discussions, especially as you prepare for the exam can be a great way to make evidence collection fun. Be sure to check out our other blog, What Is an English Language Essay? for other tips and tricks to make your essays stand out.
Extinction by Hannie Rayson is usually studied in the Australian curriculum Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.
[Modifed Video Transcription]
This is the prompt that I have decided to approach for this video and blog post:
Heather Dixon-Brown and Piper Ross’s dynamic is fuelled by competitiveness unique to the female experience in contemporary times.
Let’s break it down!
Different Interpretations of Extinction
Today I’ll be talking about different interpretations of texts, specifically the feminist lens, which is a critical lens for you to know if you’re wanting to get those top marks. Even if you’re not there yet, and you want to amp up your essay, this is it. So keep watching (or reading)!
I won’t be talking about the feminist lens in detail in this video/blog, but know that this is one of the must-know VCAA criteria points I discuss in my How To Write A Killer Text Response ebook. It is particularly relevant to Extinction because by viewing your text through a feminist lens, you’ll be able to get so much more out of your discussion. Think about it this way, you can wear all sorts of ‘glasses’ (i.e. lenses) when you’re reading a text: a feminist lens, a pro-sustainability lens, an ecocritical lens. If you were to put these lenses on, how would it change your interpretation of the text? By adopting this advanced way of approaching a text, you’ll undoubtedly wow examiners because you’re able to discuss your texts on a level that the majority of students aren’t even aware of! I touch more on feminist and ecocritical lenses at the end of the video above :)
How To Break Down This Extinction Essay Topic
Whenever you get a new essay topic, you can use LSG’sTHINK 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 inHow To Write A Killer Text Response.
Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:
Step 1: Analyse
Step 2: Brainstorm
Step 3: Create a Plan
Character-Based Essay Prompt: Heather Dixon-Brown and Piper Ross’s dynamic is fuelled by competitiveness unique to the female experience in contemporary times.
This prompt specifies two characters – Dixon-Brown and Piper – and therefore mandates an in-depth discussion of them within your essay. However, it is important to be careful of focusing exclusively on the explicitly mentioned characters when given a character prompt. After all, while Dixon-Brown and Piper are both very important to Extinction, they are not the only relevant characters! In order to ensure that your discussion covers enough of the text, make sure your brainstorming stage includes the ideas and themes exemplified by the unmentioned characters, and how they relate to the ones that are specified.
Step 2: Brainstorm
Agree to the prompt, but not entirely – Dixon-Brown and Piper do experience competitiveness between themselves, as two women in the twenty-first century, but it is not the only factor impacting their relationship dynamic
Female competitiveness in relationships and desirability – e.g. having sex with Harry without the other knowing (make sure to use DB’s quotes about competition!)
Make this more specific – competition in terms of sex, sexuality and whether or not one is desired (can link this well to the young/old dichotomy)
Young/old – related to female competitiveness, but more specific – tension between what is wanted and considered attractive versus what is no longer given value
Idealism/pragmatism – separate from the sphere of gender; has more of its roots in politics and contrasting schools of thought
Adopt traits from a feminist lens – focusing on women, power, relationships with men, when they can speak versus when they can’t, etc.
Step 3: Create a Plan
Body Paragraph 1: Contemporary demands for female competitiveness undoubtedly underlie the dynamics between Dixon-Brown and Piper Ross.
Under the modern-day patriarchy, women are encouraged to compete over social resources – reputation, desirability, and, crucially to Extinction, one’s sex and sexuality against the context of men. Both women are attracted to Harry, and eventually, both engage in 'covert sexual relationship[s]' that 'compromise the integrity' of the tiger quoll project. Beneath the veneer of assertiveness, Dixon-Brown’s underlying insecurities expose her treatment of Piper as a rival.
Although she openly denounces Harry’s assumption that 'You thought I wanted to compete for your affections', she nevertheless demands to know if Harry is 'quite smitten with Piper'. Dixon-Brown tries to distance herself from such romantic bindings, insisting that she 'do[esn’t] need a relationship' and thus subconsciously pitting herself as Piper’s opposite – in other words, a competitor for the different instances of Harry’s affection.
Rayson is quick to highlight and consequentially reject this modern female infighting, arguing that the insecurities as birthed from the patriarchy directly and unnecessarily demean the relationships between women.
Body Paragraph 2: The primary source of female conflict between Dixon-Brown and Piper is that of their incongruent ages; Rayson maintains that the tension between ‘younger’ and ‘older’ individuals contributes massively to the wider tenseness in their dynamic.
Patriarchal values dictate that the value of a woman decreases with age: Dixon-Brown claims that Harry 'would prefer a younger woman', implying that her desirability has decreased with the increase of age.
The professor’s obsession with appearances and reputation as a woman is almost completely absent in Rayson’s consideration of Piper, who is actively pursued by both Andy and Harry throughout the play. She is 'adore[d]' by the former, and the latter is enthusiastic at the prospect of 'mak[ing] love like that…again' during Act Two, Scene One. Rayson attacks the systems of patriarchal value that have driven both women to resist and distrust each other in the first place.
Body Paragraph 3: Conversely, while the spheres of politics certainly overlap occasionally within feminism and the question of female competition, they nevertheless form a largely distinct motivation behind the conflict between Piper and Dixon-Brown.
Piper and Dixon-Brown’s dynamic is perhaps most aptly summarised in Act One, Scene Two, with the introduction of the Dixon-Brown Index. Dixon-Brown claims that 'five thousand' is the 'latest magic number' with which to determine what animal populations are most feasible to make conservation efforts towards. Piper criticises the index immediately, pointing out the ridiculousness of having it 'apply to every mammal on earth', regardless of any other relevant factors. To Piper, every animal life is 'worth saving', whether they be 'killer whales or teeny potoroos' – Dixon-Brown, by contrast, must 'liv[e] in the real world' and exists at the mercy of funding, of which there is 'only so much… to go around'. The tension within their dynamic thus bears this underlying current of idealism versus pragmatism, and persists even after the primary establishment of the tiger quoll project.
If you're studying Extinction yourself, then LSG's A Killer Text Guide: Extinction study guide is for you! In it, we teach you to think like a 50 study scorer through advanced discussions on things like structural feature analysis, views and values, different interpretations and critical readings. Included are character breakdowns, a play summary, 5 A+ fully annotated essays and so much more!
Finding out that your school has selected to study a Shakespeare play as your section A text can be a pretty daunting prospect. If I’m honest, I wasn’t all too thrilled upon discovering this either...it seemed as though I now not only had to worry about analysing my text, but also understanding what Shakespeare was saying through all of his old-fashioned words.
However, let’s not fret - in this post, I’ll share with you some Measure for Measure specific advice and tactics, alongside excerpts of an essay of mine as a reference.
Having a basic understanding of the historical context of the play is an integral part of developing your understanding of Measure for Measure (and is explored further in Measure for Measure by William Shakespeare). For example, for prompts that open with “What does Shakespeare suggest about…?” or “How does Measure for Measure reflect Shakespeare’s ideas about…?” it can be really helpful to understand Shakespeare’s own position in society and how that influenced his writing.
There’s no need to memorise certain parts of Shakespeare’s history - as that would serve no purpose - just try to gauge an understanding of what life was like in his time. Through understanding Shakespeare’s position in society, we are able to infer his stances on various characters/ideologies in the play.
Measure for Measure is often regarded as an anti-Puritan satire. Although Shakespeare’s religion has been a subject of much debate and research, with many theories about his faith being brought forward, many believe that he was a secret Catholic. He is believed to be a ‘secret’ Catholic, as he lived during the rise of the Puritans - those who wished to reform the Church of England and create more of a focus on Protestant teachings, as opposed to Catholic teachings. It was often difficult for Catholics to practice their faith at this time.
Angelo and Isabella - particularly Angelo, are believed to embody puritanism, as shown through their excessive piety. By revealing Angelo to be “yet a devil,” though “angel on the outward side,” Shakespeare critiques Puritans, perhaps branding them as hypocritical or even unhuman; those “not born of man and woman.” Thus, we can assume that Shakespeare would take a similar stance to most of us - that Angelo wasn’t the greatest guy and that his excessive, unnatural and puritanical nature was more of a flaw than a virtue.
Tips for Moving Past the Generic Examples/Evidence Found in the Play
It’s important to try and stand out with your examples in your body paragraphs. If you’re writing the same, simple ideas as everyone else, it will be hard for VCAA assessors to reward you for that. Your ideas are the most important part of your essay because they show how well you’ve understood and analysed the text - which is what they are asking from you, it’s called an ‘analytical interpretation of a text,’ not ‘how many big words can you write in this essay.’ You can stand out in Measure for Measure by:
1. Taking Note of Stage Directions and Structure of Speech
Many students tend to simply focus on the dialogue in the play, but stage directions can tell you so much about what Shakespeare was really trying to illustrate in his characters.
For example, in his monologue, I would often reference how Angelo is alone on stage, appearing at his most uninhibited, with his self-interrogation revealing his internal struggle over his newfound lust for Isabella. I would also reference how Shakespeare’s choice of syntax and structure of speech reveal Angelo’s moral turmoil as he repetitively asks himself “what’s this?” indicating his confusion and disgust for his feelings which “unshapes” him.
Isabella is shown to “[kneel]” by Mariana at the conclusion of the play, in order to ask for Angelo’s forgiveness. This detail is one that is easily missed, but it is an important one, as it is an obvious reference to Christianity, and symbolises Isabella’s return to her “gentle and fair” and “saint” like nature.
2. Drawing Connections Between Characters - Analyse Their Similarities and Differences.
Drawing these connections can be a useful way to incorporate other characters not necessarily mentioned in your prompt. For example, in my own English exam last year, I chose the prompt “...Power corrupts both Angelo and the Duke. Do you agree?” and tried to pair Angelo and Isabella, in order to incorporate another character into my essay (so that my entire essay wasn’t just about two characters).
A favourite pair of mine to analyse together was Angelo and Isabella. Although at first glance they seem quite different, when you read into the text a little deeper you can find many similarities. For example, while Angelo lives alone in his garden, “succumbed by brick,” requiring “two keys” to enter, “nun,” Isabella, wishes to join the nuns of Saint Clare where she “must not speak with men” or “show [her] face.” Shakespeare’s depiction of the two, stresses their seclusion, piety and restriction from the “vice” plaguing Vienna. What’s important about this point is that you can alter your wording of it to fit various points that you may make. For example, you could use this example to prove to your assessor how Isabella’s alignment with Angelo signals Shakespeare’s condemnation of her excessive puritanical nature (as I did in my body paragraph below) or, you could use these same points to argue how Angelo was once indeed a virtuous man who was similar to the “saint” Isabella, and that it was the power that corrupted him (as you could argue in the 2019 prompt).
Another great pair is the Duke and Angelo. Although they certainly are different in many ways, an interesting argument that I used frequently, was that they both were selfish characters who abused their power as men and as leaders in a patriarchal society. It is obvious where Angelo did this - through his cruel bribery of Isabella to “lay down the treasures of [her] body,” however the Duke’s behaviour is more subtle. The Duke’s proposal to Isabella at the conclusion of the play, as he asks her to “give [him her] hand,” in marriage, coincides with the revelation that Claudio is indeed alive. It appears that the Duke has orchestrated the timing of his proposal to most forcefully secure Isabella and in this sense, his abuse of power can be likened to Angelo’s “devilish” bribery. This is as, through Shakespeare’s depiction of Isabella, it is evident that she has little interest in marriage; she simply wishes to join a convent where she “must not speak with men,” as she lives a life of “strict restraint.” The Duke is aware of this, yet he demands Isabella to “be [his]”- wishing to take her from her true desire and Shakespeare is able to elucidate Isabella’s distaste through her response to this: silence. By contrasting Isabella’s once powerful voice - her “speechless dialect” that can “move men” - with her silence in response to the Duke’s proposal, Shakespeare is able to convey the depth of the Duke’s selfishness and thus his similarity to Angelo.
We've got a character list for you in Measure for Measure by William Shakespeare (just scroll down to the Character section).
What’s important to realise about these bits of evidence is that you can use them in so many different prompts, provided that you tailor your wording to best answer the topic. For example, you could try fitting at least one of the above examples in these prompts:
‘Give me your hand and say you will be mine…’ The characters in ‘Measure for Measure’ are more interested in taking than giving. Discuss.
‘More than our brother is our chastity.' Explore how Shakespeare presents Isabella's attitude to chastity throughout Measure for Measure.
‘I have seen corruption boil …' To what extent does Shakespeare explore corruption in Measure for Measure, and by what means?
‘Measure or Measure presents a society in which women are denied power.’ Discuss.
How To Kick Start Your Essay with a Smashing Introduction
There’s no set way on how to write an introduction. Lots of people write them in many different ways and these can all do well! This is the best part about English - you don’t have to be writing like the person sitting next to you in order to get a good mark. I personally preferred writing short and sweet introductions, just because they were quick to write and easy to understand.
For example, for the prompt...
“...women are frail too.”
To what extent does ‘Measure for Measure’ examine the flaws of Isabella?
...my topic sentences were...
Isabella is depicted as a moral, virtuous and pious woman, but it is this aspect of her nature that paradoxically aligns her with the “tyrannous” Angelo.
Shakespeare explores the hypocrisy and corruption of Isabella as a flaw, as she deviates from her initially “gentle and fair” nature.
Despite exploring Isabella’s flaws to a large degree, Shakespeare does indeed present her redemption at the denouement of the play.
...and my introduction was:
William Shakespeare’s play, ‘Measure for Measure’ depicts a seventeenth century Viennese society in which disease, misconduct and licentiousness are rife. It is upon a backdrop of such ordeals that Shakespeare presents the character of Isabella, who is initially depicted as of stark contrast to the libertine populate of Vienna. To a considerable extent, ‘Measure for Measure’ does indeed examine the flaws of the “gentle and fair” Isabella, but Shakespeare suggests that perhaps she is not “saint” nor “devil,” rather that she is a human with her own flaws and with her own redeeming qualities.
Instead of rewording my topic sentences, I touched on them more vaguely, because I knew that I wouldn’t get any ‘extra’ points for repeating them twice, essentially. However, if you feel more confident in touching on your topic sentences more specifically - go ahead!! There are so many different ways to write an introduction! Do what works for you!
Body Paragraphs
This body paragraph included my pairing between Angelo and Isabella. My advice would be to continue to incorporate the language used in the prompt. In this paragraph, you can see me use the word “flaw” quite a bit, just in order to ensure that I’m actually answering the prompt, not a prompt that I have studied before.
Isabella is depicted as a moral, virtuous and pious woman, but it is this aspect of her nature that paradoxically aligns her with the “tyrannous” Angelo. Where Angelo is “of ample grace and honour,” Isabella is “gentle and fair.” Where Angelo believes in “stricture and firm abstinence,” Isabella too believes that “most desire should meet the full blow of justice.” This similarity is enhanced by their seclusion from the lecherous society in which they reside. Angelo lives alone in his garden, “succumbed by brick,” requiring “two keys” to enter, whilst Isabella desires the life of a nun where she “must not speak with men” or “show [her] face.” This depiction of both Angelo and Isabella stresses their seclusion, piety and restriction from the “vice” that the libertine populate is drunk from. However, Shakespeare’s revelation that Angelo is “yet a devil” though “angel on the outward side,” is perhaps Shakespeare’s commentary on absolute stricture being yet a facade, a flaw even. Shakespeare presents Isabella’s chastity and piety as synonymous with her identity, which ultimately leaves her unable to differentiate between the two, as she states that she would “throw down [her] life,” for Claudio, yet maintains that “more than our brother is our chastity.” Though virtuous in a sense, she is cruel in another. Although at first glance, Shakespeare’s depiction of Isabella’s excessive puritanical nature appears to be her virtue, by aligning her with the “devil” that is Angelo, it appears that this is indeed her flaw.
Conclude Your Essay by Dazzling Your Assessor!
My main tip for a conclusion is to finish it off with a confident commentary of the entire piece and what you think that the author was trying to convey through their words (in relation to the topic). For example, in pretty much all of my essays, I would conclude with a sentence that referenced the entire play - for example, how it appeared to be such a polarising play, with largely exaggerated, polarising characters/settings (eg. Angelo and the Duke, or the brothels that stood tall next to the monastery):
Ultimately, Shakespeare’s play ‘Measure for Measure,’ depicts Isabella as a multifaceted character. She is not simply one thing - not simply good nor bad - her character’s depiction continues to oscillate between the polar ends of the spectrum. Although yes, she does have flaws, so too does she have redeeming qualities. Though at times deceitful and hypocritical, she too is forgiving and gentle. Thus, as Shakespeare’s play, ‘Measure for Measure,’ does centre on polarising characters in a polarising setting, perhaps through his exploration of Isabella’s flaws alongside her virtues, he suggests that both the good and the bad inhabit us.
Measure for Measure 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.
Although it appears on criteria sheets, many students never really understand the term metalanguage. Strangely, it is something that is rarely addressed in classrooms. While the word may be foreign to you, rest assured that metalanguage is not an entirely new concept you have to learn. How come? Because you have been unknowingly using metalanguage since the very beginning of high school.
It's a word that is more and more frequently thrown around as you get more advanced in high school. And, it's something that becomes tremendously important in your final year of high school, because the more you include metalanguage discussion in your essays, the more intricate your discussion becomes and the more unique it also becomes.
So, let's find out exactly what metalanguage is.
2. Definition of Metalanguage
Metalanguage is language that describes language.
So, instead of maybe using the word, "He was sad", we might say something like, "He felt sorrowful". The choice in words changes the meaning that is interpreted by the reader, just slightly, but there is still a difference. So, when it comes to studying texts or reading articles, and trying to analyze what the author is trying to do, we look at metalanguage as a way to help give us insight into the ideas that they're trying to portray.
The simplest way to explain this is to focus on part 3 of the English exam – Language Analysis. In Language Analysis, we look at the author’s writing and label particular phrases with persuasive techniques such as: symbolism, imagery or personification. Through our description of the way an author writes (via the words ‘symbolism’, ‘imagery’ or ‘personification’), we have effectively used language that describes language.
Now, if we look at the bigger picture, our analysis of an author’s language can be applied to Text Response, and even Reading and Comparing. To learn more about why metalanguage is important in Text Response, check out our Ultimate Guide to VCE Text Response. Otherwise, for those interested in Comparative, head over to our Ultimate Guide to VCE Comparative.
3. Examples of Metalanguage in VCE English
Novel
Tone
Narrator
Grammar and punctuation
Characterisation
Foreshadowing
For example
Achilles is characterised as a foetus, for his position is ‘chin down, shoulders hunched’ as though he is inside a womb. (Ransom, David Malouf)
In the first scene of All About Eve*, Mankiewicz foreshadows Eve's sinful and regretful actions, as a sorrowful expression is emphasized as she accepts her award
As you can see, the word 'foreshadows' pushes us in a new direction. Rather than just saying what has already happened or telling your teacher or examiner something that they already know, it forces you to actually analyze what's in front of you and to offer your own unique interpretation of why this metalanguage or why this technique has been used.
When Terry leaves Friendly’s bar, the thick fog symbolises his clouded moral judgement as he decides whether he should remain ‘D and D’, or become a ‘rat’. (On the Waterfront, Elia Kazan)
Play
Stage direction
Soliloquy
Monologue
Prop
Motifs
For example
The miniature set Zac creates is designed with a white backdrop, symbolising his desire to wipe away reality since he ‘can’t stand real things'. (Cosi, Louis Nowra)
In Medea, the motif of animals emphasizes the inhuman and bestial nature of Medea, highlighting how she defies natural norms.
This student has actually given us an analysis of why animal motifs are used. And that is to highlight how Medea defies natural norms, because of her inhuman and bestial nature.
4. Conclusion
As indicated earlier, you should be familiar with many, if not all the terms mentioned above. Take note that some metalanguage terms are specific to a writing form, such as camera angle for films. If you need help learning new terms, we have you covered - be sure to check out our metalanguage word banks for books and our metalanguage wordbank for films.
As you discuss themes or characters, you should try and weave metalanguage throughout your body paragraphs. The purpose of this criteria is to demonstrate your ability to understand how the author uses language to communicate his or her meaning. The key is to remember that the author’s words or phrases are always chosen with a particular intention – it is your job to investigate why the author has written a text in a particular way.
[Modified Video Transcription]
Hey guys, welcome back to Lisa's Study Guides. Today, I'm really excited to talk to you about metalanguage. Have you guys ever heard of metalanguage before? It's a word that is more and more frequently thrown around as you get more advanced in high school. And, it's something that becomes tremendously important in your final year of high school, because the more you include metalanguage discussion in your essays, the more intricate your discussion becomes and the more unique it also becomes. So, let's find out exactly what is metalanguage.
Simply put, metalanguage just means language that analyses language. When authors write anything, we make certain decisions when it comes to writing. So, instead of maybe using the word, "He was sad", we might say something like, "He felt sorrowful". The choice in words changes the meaning that is interpreted by the reader, just slightly, but there is still a difference. So, when it comes to studying texts or reading articles and trying to analyse what the author is trying to do, we look at metalanguage as a way to help give us insight into the ideas that they're trying to portray.
Metalanguage comes in really handy, especially if you're somebody who struggles with retelling the story - I have a video on how to avoid retelling the story, which you can watch. Metalanguage essentially takes you to the next level. It prevents you from just saying what happened, and forces you into actually looking at how the ideas and themes are developed by the author through the words that they choose to use. So, let's have a look at a couple of examples to give you a better idea. I'm going to show you two examples. One uses metalanguage and one doesn't, and you'll see how a massive difference in how the student understands the text is really clear.
Number one, foreshadowing.
In the first scene of All About Eve, Mankiewicz emphasizes Eve's sorrowful expression as she accepts her award.
Versus
In the first scene of All About Eve, Mankiewicz foreshadows Eve's sinful and regretful actions, as a sorrowful expression is emphasized as she accepts her award.
As you can see, as soon as we put in the word foreshadows, it pushes us in a new direction. Rather than just saying what has already happened or telling your teacher or examiner something that they already know, it forces you to actually analyse what's in front of you and to offer your own unique interpretation of why this metalanguage or why this technique has been used. So, in this case, it's foreshadowing. Let's have a look at another one, motif.
In Medea, Euripides commonly refers to animals when describing Medea's actions and temperament.
Versus
In Medea, the motif of animals emphasizes the inhuman and bestial nature of Medea, highlighting how she defies natural norms.
See how, in the first example, it was really just telling you what we might already know through just reading the book, but when it comes to the second example, this student has actually given us an analysis of why animal motifs are used. And that is to highlight how Medea defies natural norms, because of her inhuman and bestial nature.
So, those are some examples of metalanguage. There are so many more different types of metalanguage out there...
We are well into the second half of Semester 1 and for Year 12 students, the Mt Everest that is the final English examination is approximately 6 months away. Though most students are at this stage comfortable with the text response aspect of English, many tend to struggle with the notion of “answering the prompt”.
When working to correct this issue, it is important to understand the VCAA English Study Design brief for text response which outlines its examination criteria as being:
detailed knowledge and understanding of the selected text, demonstrated appropriately in response to the task
development in the writing of a coherent and effective structure in response to the task
control in the use of expressive and effective language appropriate to the task.
To find out more about how to satisfy the VCAA criteria in your Text Response, as well as a sample essay doing so, check out our Ultimate Guide to VCE Text Response.
The importance of answering the prompt is stressed in each of the 3 listed points in the rubric which share the common theme of following the assigned task. In order to construct an essay which successfully answers the prompt, one must be conscious of the relationship between the prompt assigned, their stated contention and the topic sentences they provide.
Prompts for Section A are divided into one of five categories. To learn more about LSG's Five Types Technique, check out our blog.
The first thing one should do when presented with a prompt is analyse it by identifying the keywords of the prompt and clarifying all the key terms. Once this has been done, it is time to formulate a contention.
A contention is simply your view of the prompt. This is where you challenge the statement presented to you and construct a viewpoint outlining the degree to which you are in agreement or disagreement with the prompt or if you are sitting on the fence. It is vital to do this not by blatantly rewording the prompt to display your stance, instead you must observe the prompt and construct an assessment of the prompt by drawing from the text to confirm your contention. It is through your contention that your points of discussion detailed in your topic sentences are formed.
Points to remember:
do not explicitly say “I agree” or “I disagree”
rather demonstrate how you feel (and thus how you are going to write) by using the text to highlight your opinion of the prompt
use your contention as “umbrella” from which your body paragraph ideas fall under
The next step in developing your essay response is to settle on what points to make in your body paragraphs and write topic sentences. Topic sentences outline the content you will be presenting to your teacher or examiner in the particular body paragraph. A good topic sentence should detail an idea that can be drawn from your contention. A habit some students carry into Year 12 from earlier years of essay writing is to write body paragraphs solely on characters and in turn writing a topic sentence stating which character they will write about in that paragraph. Rather than doing this, focus on the context, themes, symbols and conventions particular character(s) feature in throughout the text.
Points to remember:
ensure your topic sentence clearly indicates what you will discuss in your paragraph
check to make sure your topic sentence is an idea that stems from your contention
avoid character based topic sentences and focus on the themes these characters are utilised to explore
The key to adhering to the prompt presented to you is forming a relationship between the material given to you, your adopted contention and the topic sentences which headline your evidence and justification. Think of the prompt as the avenue through which to form your overall stance. Your contention is the basis of the entirety of your essay. Your topic sentences are opening statements written with the purpose of helping you develop a discussion that follows your contention that is in relation to the prompt. When your text response has evidence of this not only will you present an essay that closely addresses the prompt, but your work will reflect your thoughts, in a manner which efficiently enables you to show off your skills.
We've explored themes, characters, literary devices and historical context amongst other things over on our Women of Troy by Euripides blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out as well as ourUltimate Guide to VCE Text Response.
Here, we’ll be breaking down a Women of Troy essay topic using LSG’s THINK and EXECUTE strategy, a technique to help you write better VCE essays. If you’re unfamiliar with this strategy, you can learn about it in our How To Write A Killer Text Response study guide.
Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:
Step 1: Analyse Step 2: Brainstorm Step 3: Create a Plan
Without further ado, let’s get into it!
The Prompt: ‘“We are loot my son and I, soldiers’ plunder.” Discuss how Euripides highlights the plight of women taken as slaves in war.’
THINK
Step 1: Analyse
The first thing to note about this prompt is that it is a 'how’ question, it is essentially asking us to identify the literary techniques Euripides has employed in order to ‘highlight’ the women’s ‘plight’. The noun ‘plight’ is defined as a troublesome or unfortunate situation, yet we must consider this word in the context of war. How do the women suffer? In other words, how does Euripides demonstrate to his reader just how dejected the women are as slaves?
Step 2: Brainstorm
It is relatively simple to identify the literary techniques which consistently appear throughout Euripides’ play, such as imagery, metaphor and simile (not entirely sure what literary techniques are? We have a list of them for you here). However, keeping in mind we have to form three paragraphs, we should consider Euripides’ authorial voice more broadly. For example, the women consistently lament their disillusionment with the gods. This is not a literary technique in itself, but it is still a literary choice which Euripides has made and which has been deepened with more specific literary devices like metaphor. The same could be said for the women’s struggle for hope, and the contrast between their joyous pasts and dismal futures.
Step 3: Create a Plan
Unlike a ‘to what extent’ question, we do not have to form an argument. Instead, we must forge a discussion of Euripides’ literary decisions as a playwright.
P1: Euripides juxtaposes the triumphant pasts of the Trojan women with their tragic futures. The 'shining citadels of Troy' are now a 'black smokened ruin’.
P2: Euripides illuminatesthe women’sattempts to retain futile hope. Note that hope also comes in the form of revenge.
P3: The dramatic irony of the play renders the women’s desperate calls upon the gods all the more tragic. Here, we can also make reference to the prologue, and Athene’s ploy to create a storm on the Greeks’ journey home which also ultimately affects the women.
EXECUTE
Essay
At the heart of the conflict in The Women of Troy, lies the anguished 'suffering' (1) of the Trojan women as they confront their fates as 'slaves', and remember their pasts as wives and mothers. In his tragedy, first performed in Athens circa 415 BCE, Euripides amplifies the conflicted voices of the Trojan women, voices which are by contrast suppressed and disregarded in the Homeric worksthe Iliad and the Odyssey. Euripides’ stark dichotomy between the glories and 'rituals' of the past, and the sombre 'grief' of the present, elucidate the magnitude of their losses, both material and moral. For as Andromache laments, these women have been objectified as 'loot', mere spoils of war to be abused and exploited. (2) The women’s tendency to clutch onto chimerical (3) hopes and values only serves to further illuminate the profundity of their suffering once these ambitions have been brutally quashed in the 'dust' of their 'smoke blackened ruin' of Troy. Perhaps most significantly, Euripides juxtaposes the lingering though pitiful hope of the women with the gods’ complete 'desert[ion]' of Troy, positioning the women in an ironic chasm of cruel abandonment. Thus, the plight of women as wartime captives is dramatised by Euripides, corralling the audience into an ultimate stance of pity and empathy.
Annotations: (1) It is often useful to embed short/one word quotes in your essay (we teach you how in How To Embed Quotes in Your Essay Like a Boss). It shows you have a great understanding of the text, and reads fluidly as opposed to overly long quotes.
(2) Here, I have addressed the quote in the prompt in a single sentence, unpacking Euripides’ analogy of Andromache and Astyanax as ‘loot’. By comparing the two characters to war spoils, he is suggesting that they have been stripped of their free will and autonomy.
(3) It is really important to vary your vocabulary in order to increase the sophistication of your essay. The adjective ‘chimerical’ refers to an ideal which is impossible to achieve.
Euripides’ juxtaposition between the dismal future of the Trojan women and the zenith of their pasts, further illuminates the chasm of their sufferings and losses as the ultimate victims of wartime atrocities. Chiefly, Euripides contrasts Hecuba’s former royal status with the demoralizing fate of her captivity, encapsulating this tragic fall from nobility with the ironic imagery, 'throned in the dust’. Yet perhaps what truly emphasises her plight as a slave is her enduring role as a maternal figure of leadership, encapsulated in her regard of the chorus as '[her] children' and her reciprocated address as 'dear queen' and 'your mother'. Despite the 'death agony' she feels, she chooses to maintain her nobility through the depth of her morality, dramatizing the pitiful nature of her plight (4). Moreover, Euripides’ juxtaposition between the 'shining citadels of Troy' and the 'misery' of the chorus elucidates the significance of 'home', a source of solace which has been barbarically stripped away from them. Likewise, Andromache laments her past as a dutiful and faithful wife, contrasting her fidelity against her fate as a 'concubine' to the formidable Neoptolemus (5). Euripides implies that Andromache must abandon her reputation as the 'perfect wife' – the very attribute for which she was chosen especially – doomed to confront a life of sexual slavery, an unwilling mother of Neoptolemus’ children.
Annotations: (4) Here, I have used the word ‘plight’, making sure I am engaging directly with the prompt. It is often easy to fall into the trap of creating a generalised essay which only loosely adheres to the question.
(5) It is more sophisticated to specify the name of Andromache’s husband (Neoptolemus), rather than to just simply state ‘Andromache’s husband’ (even though he is not featured as a character in Euripides’ play).
Euripides (6) characterises the women by their tendency to clutch on to 'hope[s]' and ideals that are impossible to fulfil. Almost a coping mechanism of sorts, the chorus paradoxically romanticise the Greek landscape in the first episode, lauding the 'sacred halls', 'green fields', 'beautiful river[s]' and 'wealth' of Hellas. Yet, their ardent critiques of their future 'home[s]' rejects any notion that the women truly believe these glorifications of the Greek realm. Similarly, Hecuba is motivated by her futile hope that Astyanax may one day seek vengeance and be 'the savior of Troy' by 'rebuild[ing]' the city. Yet tragically, this doomed hope is violently quashed by Odysseus 'blind panic' and acute lack of rationality: the 'liar' and 'deceiver' who 'lead the Greek council' in their debate. Though this hope initially provides her with some form of solace, all comfort is dashed with the announcement of his 'butchery'. Likewise, Cassandra is motivated by her own pursuit for revenge, lauding her 'sacred marriage' to Agamemnon as an event worthy of 'praise' and 'celebration'. Yet her hope is also jaded, for she must in the process 'flout all religious feeling' as a slave of Agamemnon’s 'lust', until she meets her painful hour of death at Clytemnestra’s hands.
Annotations: (6) Notice that several of the sentences have begun with ‘Euripides characterises’ or ‘Euripides illuminates’, engaging with the ‘how’ part of the prompt. We are showing what the author has done and why.
Ironically, Euripides illuminates the plight of the Trojan women through his dramatic elucidation of the gods’ callous abandonment of the ruined Troy. Euripides juxtaposes the past 'rituals', 'dances', 'songs', 'sacrifices', 'offerings' and 'ceremonies' of the chorus with their bitter laments that 'the gods hate Troy' and that they are ultimately characterised by avarice. They are neither answered not consoled in their ultimate time of mourning, for the audience is aware that Poseidon has fled the scene in the prologue, disillusioned by the 'ceas[ing]' of 'worship', leaving 'nothing (…) worth a god’s consideration' in the fallen city. What is also rendered ironic by Euripides, is Athene’s formidable ploy to 'make the Greeks’ return home a complete disaster.' Regardless of Athene’s true motives for instigating this ultimate pursuit of comeuppance, the fact remains that the women too must endure this perilous journey to Greece. Not only are the despairing wives, mothers and daughters condemned to 'abject slavery' on foreign soil, they are 'innocent: victims who may – alongside the Greeks – find themselves on the shores of Euboea, among the 'float[ing] (…) corpses' of the Greek soldiers. They are not simply abandoned by the gods, they are, directly or indirectly, punished. (7)
Annotations: (7) This is a more original point which other students may not automatically think of. We often view Athene’s ‘ploy’ as a deserved punishment of the ‘murderous’ Greeks, yet there is no true justice, for the women too are ultimately affected.
In a play which serves to fill the silence of the Trojan women in the legendary works of the Iliad and the Odyssey(8), Euripides augments the pitiful plight of the Trojan women with agonizing references to past 'happiness', and equally unbearable forecasts of their roles as 'slaves' of Greek lust. They are indeed 'loot' and they are indeed 'plunder' – as Andromache so bitterly laments – yet their plight is recorded in the works of 'poets' to come, remembered as a legacy of stoicism 'a hundred generations hence.' Taken as our 'great theme', these women are 'sufferer[s]', yet they are also heroes.
Annotations: (8) Just as I have done in the introduction, I have referred to the context of the play in the conclusion. The Iliad and the Odyssey provided the framework for Euripides’ play, so by referencing Homer’s works we are showing the examiner that we have an understanding of the historical context.
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If you'd like to dive deeper into Women of Troy, check out ourA Killer Text Guide: Women of Troystudy guide. In it, we teach you how to how to think like a 50 study scorer through advanced discussions on topics such as views and values and metalanguage, we provide you with 5 A+ sample essays that are fully annotated and everything is broken down into easy-to-understand concepts so that students of all levels can understand and apply what we teach!!
In Victoria, VCAA are starting to update us on which SACs (particularly practical tasks) need to be completed on-site. No English subjects are really affected by this, mostly subjects with folios or labs, as well as environmental sciences—check here for details (under ‘School-based Assessments’ > ‘Unit 3 Practical Assessments’). The general advice for any of these is that they “must be completed in the school environment that adheres to current social-distancing advice.”
Study designs have also been adjusted for English Language, as well as Biology and all streams of Maths—same link, with info under ‘2020 Adjusted Study Designs’.
In Victoria, schools remain closed, and current distancing restrictions will remain in place until May/11 for certain, even as other states begin lifting their restrictions. This is ahead of a national cabinet meeting on May/8 which will make a call on whether or not to keep going with shutdown. It’ll also take into consideration how many people have downloaded the CovidSafe app, which has spawned its own set of controversies about privacy and government access to our data. It might seem invasive, but consider:
In Victoria, three new cases were recorded overnight. Around the country, even better—for example, SA and WA are reporting zero new cases, and the ACT currently has no active cases at all.
I wouldn’t necessarily say this means the end is in sight—just a shift into the next phase, which seems to revolve around the app. What a cheery thought, I know.
One last controversy to leave you with—the Victorian Deputy Chief Health Officer Dr. Annaliese van Diemen made a tweet on her day off which compared COVID-19 to the British colonisation of Australia:
Conservative politicians have been champing at the bit to jump in with “well, actually…” comments (e.g. “well, actually Cook only charted the East Coast”) and call for her resignation, while the Labor state government has defended her right to make this tweet and express her opinion. Premier Andrews has said: “I've got no comment to make on any member of the public health team other than thank you for the work you are doing because it is making a massive difference.” And so it is.
Maybe this tweet is relevant to the current pandemic, maybe not, but let’s not be defensive about it. Instead, let’s just keep in mind that most of us are in fact not the first Australians who’ve faced something scary and foreign which has completely changed how we live, because most of us aren’t First Australians. Definitely at least food for thought.
NSW also back to school this week
1 May 2020, 11:20am
And a very similar kind of chaos happened there as well, with some degree of conflicting state and federal advice; NSW Premier Gladys Berejiklian has implemented complete remote learning until at least May 11 in spite of the federal government’s insistence on reopening.
That said, their start of term 2 has also seen some new issues arise—now, more so than a fortnight ago, people are starting to feel the situation stabilise. The number of new COVID-19 cases is falling and the humdrum of home schooling is starting to get old, which is tempting parents to send kids (especially younger kids) back to school earlier.
This is also complicated by the federal government, which has since adjusted its approach based on initial tensions with Victoria. They are now simply offering private and Catholic schools financial incentives to reopen—in particular a 25% advance on next year’s funding if they have half their students back in classrooms by June 1. There are thousands of eligible schools around the country.
Those who are more adamant about distance learning—including Premier Berejiklian, Premier Palaszczuk of Queensland and Premier Andrews of Victoria—suggest that schools will struggle to cope with more students at the moment. Teachers will be more at risk, and the delivery of at-home learning may be compromised. Also, it would be much harder to shut schools again once reopened, than to just keep them closed until we’re sure.
NSW schools are contemplating staggered returns to school, based on things like alphabets, postcodes, year groups etc. or with limited days of the week delivered in person.
At home, VCAA is running webinars to provide advice for teachers and principals, which ran on April 30 and May 1. As April comes to a close (already—it honestly felt so short), the possibility of reopening schools as well as other sectors soon is feeling within reach, though not without some element of risk.
Key changes to Units 3 and 4
24 April 2020, 7:40pm
VCAA has spelled out some of the changes that will be happening to Unit 3 of the VCE. Firstly, it has recommended schools delay the end of Unit 3 until Jun/26. This should give more time for everyone to figure out exactly how SACs will be administered or modified, and whether any must be completed on-site. The deadline for schools to submit Unit 3 results has also been pushed back to Oct/12.
As for Unit 4, there is currently a review of whether or not SACs can be reduced.
VCAL dates are also set to change so that it takes place in parallel with VCE, though there won’t be changes to content or assessment.
VCAA has also changed the last day for official enrolment in or withdrawal from VCE Units 3–4 to Jun/8, and from VCE Units 1–2 to Nov/9. This means that Year 11 students will have more flexibility to pick up and change subjects in Semester 2.
In terms of technological support, the Victorian government will be lending out computers and SIM cards via schools, so speaking to school administration is the first port of call. You can also seek assistance from State Schools’ Relief.
Finally, VCAA is also trying to support teachers by opening up new communication channels where they can seek more focused and detailed information from experts. I’m not too clear what information is being made available, but this is what they’ve written about it:
“F–10 and senior secondary teachers may access two new interactive communication channels from 27 April 2020. These will enable teachers to ask questions and receive answers in real time from our subject matter experts across the organisation.”
What Term 2 looks like so far
23 April 2020, 10:51am
At this stage, Victorian schools do seem to be operating remotely by default. There was some confusion earlier in the week among teachers and parents, but things seem to be settling down for now. Bearing in mind that many teachers spent the holidays adjusting and reworking lessons for online learning, their frustration is probably understandable in this light.
There still isn’t a consistent national framework for how schools should operate in the medium- to long-term though. For example, Queensland schools are only mandating 5 weeks of remote learning for now, though also making sure that essential workers’ kids can still attend school in-person and making SIM cards and laptops available for students who need them.
The Victorian Department of Education has provided learning from home advice for students and parents, translated into a number of languages. One new tidbit in there is that small groups of students who need to gather and complete learning requirements on-site will be permitted to do so. I can’t imagine a lot of requirements falling under this umbrella, but this will be up to individual schools to provide.
Hear from 47 English and Literature 40 scoring tutor, Sarah about her experiences tutoring
17 April 2020, 10:12am
If you're curious about what tutoring with LSG entails, and would like to get to know a tutor a little bit better, this video is for you! Lisa recently sat down with Sarah, one of LSG's amazing tutors, and they spoke about the life of a tutor, various tutoring experiences, and even what it's like to conduct tutoring online.
Conflicting advice from the federal education minister
11 April 2020, 10:41am
There’s been a bit of conflicting advice from higher up, unfortunately. While state government has indicated that government schools will shift to remote learning in Term 2, the federal (national) government has other ideas.
On Apr/9, education minister Dan Tehan asked that independent and Catholic schools keep classroom learning available at the risk of losing federal funding. This is especially confusing for Victorians, as the state government has been decisive in implementing a remote Term 2 for government schools.
It’s a tricky scenario because the federal government funds independent and Catholic schools, while the state government runs government schools.
It’s definitely ok to feel frustrated by this—Independent Schools Victoria chief executive Michelle Green has described this as an “impossible situation…caught between conflicting advice from state and federal authorities.”
The federal government reasons that children of essential frontline workers need a classroom option, and they may not have any other choice because of their parents’ employment. However, the Prime Minister has also said that it is up to states and territories to make those decisions about what exactly will happen in schools.
We expect more clarification on this over the long weekend and the days to follow.
Latest changes to VCE
10 April 2020, 8:50pm
So what exactly is going on with this right now?
Schools are reopening after Easter but they will operate remotely for Term 2. It will be announced later if this extends to Term 3 or not.
Year 12 students will receive an ATAR for work completed in 2020. The GAT will be held in October or November instead of June; exams are postponed to December at the earliest. Exams may be modified or shortened, but nothing has been announced for certain yet. There are Plan-Bs to either delay exams further if needed, or derive ATARs from your GAT.
However, entry to tertiary study shouldn’t be affected—there’s usually a big window between VCE exams and the start of uni anyway, and government is in dialogue with universities about pushing back the start of 2021 if needed. Admissions processes may look different depending on the extent to which exams are affected, but universities are committed tobeing fair, consistent and transparent. There may also be catch-up, foundation or bridging classes in your first year.
If you don’t have the technology to learn remotely, the government will be loaning out 4,000 SIM cards and 6,000 laptops. They will also be working with Food Bank to make sure students who need breakfast clubs and lunches get it. Transportation services (school buses, disability transport and metro) will run as usual.
I’m feeling really iffy about some of this…
You’re not alone. Many people, students among them, are encountering all kinds of challenges with the changes that have been happening, and there is no shame in feeling powerless or in need of some extra resources in this time.
If you need any support for VCE or schoolwork, we’ll have plenty of content on ourblog andYouTube channel to help you address any concerns. We also have a team of experienced tutors available for online tutoring.
Maybe that covers all the bases, but chances are it doesn’t—individual circumstances are really different right now, and circumstances across society are constantly in flux.
Beyond your personal circumstances, you might also be feeling a little iffy about the increased policing, or the exclusion of migrant workers from wage protection.
Could there be any alternatives to policing, maybe some sort of community-based delivery service to ensure that society’s most vulnerable remain well-resourced? And is the government obliged to protect the wages of not only Australian citizens, but Australian taxpayers as well (anybody who lives in Australia is an Australian taxpayer).
A lot to think about if you haven’t done your Oral Presentation yet…
Learning remotely is difficult – how can you ensure that you keep up your marks?
10 April 2020, 11:20am
Across the state, students and teachers are transitioning to learning remotely — and it hasn't been exactly easy. There are a few things that you can do to ensure that your education isn't compromised and remains at a high standard. To hear more about these strategies, check out the blog post created by my fellow tutor, Angie, here.
Learning remotely means that many students of all ages are worried about how they'll be able to access tailored support from teachers busy with adapting their teaching methods and lesson plans who are often unable to give students the one-on-one attention they deserve due to this pandemic. Well, Lisa's Study Guides' online private tutoring service connects students with experienced tutors who scored in the top 9% or better in their recent completion of VCE. To learn more about how we can work with you to empower you to take control of your learning, head over to our information page here.
Lisa has also created a video talking about what online tutoring entails. Be sure to check it out below to learn more!
What’s the federal government doing?
10 April 2020, 9:26am
You might’ve heard the term ‘economic stimulus package’ being tossed around. This refers to when the government borrows money (i.e. increases government debt) and essentially gives it to people so that ‘business as usual’ isn’t disrupted, even when our jobs and our social lives might be. Even if you no longer have a source of income, government payments can now be spent on supplies which keep you alive, keep those businesses afloat, and keep their workers employed. Without any stimulus, the economic consequences of COVID-19 would be far more widespread.
Prime Minister Scott Morrison has put in place a range of economic stimuli which play a big part in flattening the curve. This has included wage guarantees (JobSeeker/JobKeeper payments) that look a lot like universal basic income—everyone* who is now out of work receives an equal, regular payment from the government that covers their basic needs.
Policies like this allow everyone*, no matter their income level beforehand, to get by and stay at home without needing to find a new job while it’s dangerous (and illegal) to go outside.
Australia has adopted similar policies before—the then-Labor government introduced economic stimuli during the financial crisis of 2009—but Scott Morrison was a vocal critic back then.
Finally, even though Australia’s response to COVID-19 appears to be working well, there are two big challenges coming up. One is Easter, a long weekend where people traditionally go out. This time, they’re being warned to stay home.
Another is the start of Term 2, when over a million Victorian students would usually be on the move. The transition to remote learning will prevent this in a bid to continue flattening the COVID-19 curve.
*everyone who is eligible—which currently doesn’t include temporary visa holders, many casual workers, people in arts and entertainment, charities etc.
By the numbers: the state of the virus
8 April 2020, 1:45pm
As of Wednesday April 8, we’ve seen 5,844 cases of COVID-19 across the country, with 1,212 of those in Victoria, where 60,000 tests have been administered. Among these:
• 12 have passed away
• 45 are in hospital, including 12 in intensive care
• 101 seem to be the result of community transmission
• 736 have recovered
In order to control the rate of the outbreak, Victorian Premier Daniel Andrews has introduced a range of regulations which promote social distancing. These have been increasingly restrictive, from closing down non-essential businesses and limiting the size of public gatherings to stay-at-home rules that are now enforceable—you might’ve heard of these as “stage 3 restrictions”.
As part of these restrictions, you may only legally leave the house for four reasons:
• Getting food and supplies
• Seeking medical care
• Exercise (that doesn’t involve groups of more than 2 people)
• Work and study (where remote options are unavailable)
There are also on-the-spot fines of $1,652 for anyone caught in breach of these restrictions, and as many as 114 such fines have been issued in a single day. Since March 21, Victorian police have conducted 16,039 spot checks in homes and non-essential businesses. People have been fined for having mates over for dinner parties, a cheeky video game sesh, even hanging out in the park.
At this stage though, there are signs that these restrictions may be paying off, and that Australia is ‘flattening the curve’ compared to other countries, especially other Western democracies such as the US (which now leads the world in COVID-19 cases) and the UK (where the Prime Minister has contracted the virus). ‘Flattening the curve’ basically means new cases are growing at a slower rate (a ‘flat’ increase) rather than at an exponential rate (a sharper increase).
What the coronavirus means for VCE
7 April 2020, 5:35pm
Right now, there's so much uncertainty and everyone has the right to be anxious. For the VCE, this is no different – it's ok for us to be unsure and worried about what'll happen with our study scores and ATARs. So, to put your minds at ease, Lisa (the founder of Lisa's Study Guides) recently created a video talking about what the coronavirus means for the VCE in 2020. Check it out below...
‘Will I finish VCE?’ and other COVID-19 questions, answered
7 April 2020, 12:00pm
You’ve heard of Love in the Time of Cholera; now get ready for VCE in the time of coronavirus. As far as we know, the VCE is indeed still on, and if you’re currently in Year 12, it looks like you’ll be on track to graduate at the end of 2020 as per usual.
So we’ll still have to do SACs and exams?
Yep. VCAA has allowed schools to administer SACs either remotely, or delay them to whenever in-person classes resume. Your school will make its own decisions on how you’ll actually be taking SACs—if you have personal access requirements or need for special provisions, speaking to them would be the best avenue. Same goes for how schools actually deliver the content—it’s all pretty flexible at the moment.
What if I’m afraid I’ll do worse on an online SAC?
On the one hand, VCAA seems to be raising the option of delaying SACs until school resumes pretty strongly. On the other, they’re suggesting that online SACs should be delivered as normally as possible if schools can’t accommodate a delay. This means that, just like on a real SAC, there’ll be limited time and potentially limited access to resources as well.
They’re also reminding us that even if SACs go online, your actual, numerical results are less important than your “correct ranking”. To determine this, individual schools are being advised to ‘validate’ remote SAC results with classroom-based assessments when they return. You may well get the best of both worlds.
In general though, everyone is in the same boat for now, and concerns around this are widespread (and valid!). Do the best you can, and your effort will be reflected in your ranking at the end of it all. Don’t forget that SAC scores also get moderated by VCAA at the end of the year.
Will I still get an ATAR?
Yes, and they’ll still be calculated the same way (from assessments, statistical moderation, and study scores). Remember that study scores and ATARs are also rankings, and everyone is going through this together; everyone is doing/can only do the best they can under the circumstances.
As things change, VCAA will also keep everyone updated on whether or not key dates change. This may include things like:
The start of Term 2 (Apr/15)
The deadline to enrol in/withdraw from the VCE (Apr/27)
The General Achievement Test (Jun/10)
They will also be “provid[ing] advice for schools every Monday from the start of Term 2”, so everyone will move at the same pace in these strange and difficult times.
COVID-19 is certainly unprecedented. The necessity of social distancing brings its fair share of challenges, and we’re all adapting as much as we can. At Lisa’s Study Guides, we’re doing our part by moving all our lessons online; it’s been an option that our tutors have worked with for years, and it’s just become a necessity now to minimise risk across the community.
There’ll still be online resources available though, both with your teachers and with us—please reach out if you need anything.
And there’ll be other challenges too, like having your co-curriculars and general social life going under for a little while. Make time for your hobbies where you can, and keep in touch with your friends as much as possible.
But where will all of this leave me when I graduate?
That’s a really great question—2020 is barely happening as it is, so it’s definitely normal to be anxious about the future, and whether or not you’ll feel prepared to return to life again in 2021 while also navigating the whole new world of university.
To be honest, we think you’ll be more prepared than most. University challenges most students to be more independent and self-reliant than they’ve ever been before—it’s a place where you have to choose to turn up, and actively stay on top of everything with less contact and support. You’ll come out of 2020 already having faced many of these challenges (and this’ll prepare you for life beyond uni too!).
And who knows how this will shape education going forward! It’s given everyone—not just you, but also your teachers, parents and principals—a bit of an awakening with regard to technology. Classrooms may never look the same again, even when we do go back.
For now, take it one day at a time. Stay at home when required, build routine in when possible, and do the best you can. If you need to access support services, try the following:
Hello! My name’s Mark, and I’ve been a tutor and content creator with LSG for about 3 years now. Because of the highly volatile nature of the COVID-19 pandemic, there have been a couple of changes to how we operate. One of those is this newsfeed, which I’ll be using to provide regular updates on any changes to VCE, education or the state of the virus more broadly.
We’ll also be implementing a chatbot on Facebook Messenger where you can ask for help more directly. This follows a broader movement across the education sector towards remote learning, which all of our tutors are currently practicing.
The coronavirus has undoubtedly impacted VCE and secondary education. What we know so far:
• The VCE is going ahead this year, though not without major changes. Year 12 students will receive an ATAR for study undertaken in 2020.
• Schools are free to either delay SACs until in-person classes resume, or administer them remotely in the meantime. VCAA’s official advice either way has been that SACs should be administered as ‘normally’ as possible, with restrictions on time and access to resources even if you get to do the SAC at home. Schools are encouraged to keep up regular assessments even if delays are being considered.
• Schools also have the option of ‘validating’ SACs conducted remotely with more in-person assessments when classes resume.
• The commencement of term 2 for government schools has been pushed back to April 15.
• However, all of term 2 will be administered remotely (unless this is absolutely not possible).
• The General Achievement Test (GAT) will be delayed until October or November. Year 12 exams will also be delayed, most likely to December.
Watch this space for more details on these changes, as well as any new updates as they develop. In the meantime, if you’re feeling stressed and want some tips on how to manage remote learning, check out our earlier blog post here, or video here.
Regardless of whether you’re writing a Text Response, Comparative, or even an Argument Analysis essay, it is easy to see the introduction as something inconsequential, that won’t change your overall mark. And as a result, far too many students view the intro as a mere convention of writing that simply needs to ‘tick off’ certain criteria before they get into the ‘meat’ of the essay. But, from my experiences in VCE English, I’ve found taking some time to write a concise, yet original, considered, and insightful intro (with a bit of flair when appropriate) can be hugely beneficial.
Why your teacher says you can’t earn any marks in an introduction
Everyone has heard it before:
“You can’t win/lose marks in an introduction or conclusion”.
I’ll be the first to admit that in some ways, this is true. The purpose of a Text Response essay is to show an understanding of a text through analysis. So, it is natural that your essay is marked based on the quality of your analysis of the text. And, because very little of this analysis occurs in the introduction, it’s easy to think that an intro can’t influence or change your final mark. While this may be true in theory, the reality is that your introduction serves as a foundation for your analysis... and just like a house, without a solid foundation coming first the rest of your essay is more liable to be weak and fragile. In my mind, the introduction provides a basis for everything that you’re going to analyse in your body-paragraphs which can build upon the assertions you have made regarding the topic in your intro. In other words, the introduction sets the direction for your essay, which overall acts as a backbone allowing for a cogent argument to be presented in your piece.
How an Introduction can help you
Now that we have established how an introduction helps contribute to the overall cohesiveness of an essay, let’s have a look at how an intro can help you while you’re writing. Especially when writing under timed conditions, it can be difficult to produce a detailed plan which lays out the structure of an essay. Here's where your intro can be of great help. When considered carefully, your introduction can set the parameters within which your essay will be contained. In other words, your intro can define the scope of your essay, outlining which themes and characters you are going to explore, and most importantly what arguments you are going to posit throughout your script. This means that if you get lost, or go blank trying to figure out what you should write next you can refer back to your intro to find a sense of direction and regain a foothold in your essay and. In this way, the intro not only acts as a foundation for your body-paragraphs but also provides a blueprint for them which can guide you from point to point.
At the same time, although an introduction cannot explicitly earn you marks, I would argue that a quality introduction can help position your assessor to immediately categorise your essay as belonging in a higher mark bracket. At the end of the year, exam assessors have hundreds of scripts to mark. And the truth is, they will not dedicate more than a couple of minutes to read your essay. As such, if you can impress your assessor with a powerful opening, they are more likely to see your piece as one that should earn a high mark. The reality is that assessors can often tell a lot about an essay based on the quality of its introduction. Therefore, if you can write a 9-10/10 introduction, your assessor will already be leaning towards awarding you a mark in that range without even having read your body-paragraphs yet.
So, how can you write an original introduction that doesn’t sound like everyone else?
If there’s one thing English teachers and assessors hate, it’s reading essays that have been memorised and recited (though, if you absolutely insist, the here's a middle-ground option where you could use' templates'). What is crucial, then, is that from the very first line of your introduction you are responding directly and unswervingly to the topic. I would suggest trying to avoid starting with a cliche contextual statement in favour of a bold response to the topic.
For example, in response to the topic ‘Shakespeare’s Vienna is a world devoid of balance.’ I would try to avoid starting my introduction with a vague and easily memorisable statement such as...
‘Shakespeare’s Jacobean tragicomedy Measure for Measure explores the concept of balance in his extremest characters.’
Instead, a bold opening statement is preferable...
‘Whether it is in Vienna’s abject lasciviousness, Angelo’s ascetic self-governance, or even Isabella’s hyper-rectitude, Shakespeare’s conception of Vienna in Measure for Measure is one laced with problematic extremism.’
Consider opening with a quote which captures your take on the topic. In the Comparative task, most definitely try to avoid staring with the word ‘Both’, and instead consider shedding light on a theme or concept common to both texts.
For example, in response to the topic ‘Both Invictus and Ransom suggest empathy is key to creating unity.’...
Whether it is between African and Afrikaner or Trojan and Achaean, the capacity for human understanding is upheld as paramount to overcome societal fissures. After you have put forward a broad response to the topic in your opening sentence, your introduction can then proceed to ‘zoom in’ and offer more specific arguments. These specific ideas should essentially signpost the distinct arguments you are going to present in each of your body paragraphs.
‘One characteristic of high-scoring essays was recognition of the ways in which the ideas the student intended to discuss were connected.’
This means that the ideas you flag for discussion in your intro, should be logically connected to both the prompt and each other, and you should aim to outline these connections.
The specific ideas which you offer set the parameters for the rest of your essay, so it is a good idea to ensure that these insights take into consideration the implications of the key-terms of the topic, and attempt to take the topic further. This allows you to consider the text in a sophisticated and conceptual way while maintaining rock-solid links to the topic.
After you have ‘zoomed into’ the specific arguments you will be mounting in your essay, the final step is to ‘zoom back out’ and offer an incisive, and powerful overall contention which responds explicitly to the terms of the topic. We talk about this 'zoom in' and 'zoom out' technique in How To Write A Killer Text Response.
Ultimately, the introduction provides you with a great opportunity to show off to your assessors that you can write incisively, fluently, and with confidence.
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