Unit 1 English
succeeding in the vce, 2017
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INTRODUCTION
"Desire is the key to motivation, but it’s determination and commitment to an unrelenting
pursuit of your goal – a commitment to excellence – that will enable you to attain the success
you seek."
– Mario Andretti
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Succeeding in the VCE – Unit 1 English
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VCAA ENGLISH/EAL COURSE OVERVIEW
Unit 1
Area of Study
Reading and
creating texts
Analysing and
presenting
argument
Key Skills

Identify, explain and analyse – characters,
settings, events, and ideas, issues and themes
presented in texts – how texts are created in and
for different contexts, audiences and purposes,
and the choices made by authors to meet these –
how features of texts are used to create meaning –
the impact of texts on audiences by considering
the similarities and differences between texts

Apply the conventions of oral presentation in the
delivery of spoken texts

Apply the conventions of discussion

Use textual evidence appropriately to support
analytical responses

Plan analytical responses to texts

Plan creative responses to texts (written, spoken
and multimodal), for example consider an
alternative perspective or explore a gap or moment
in the text, taking account of the purpose, context
and audience in determining the selected content
and approach

Explain and justify decisions made in the writing
process

Develop, test and clarify ideas using discussion
and writing

Draft, review, edit and refine creative and
analytical responses to texts, making choices
about features of texts and using feedback gained
from individual reflection, discussion, and peer and
teacher comments

Apply the conventions of spelling, punctuation and
syntax of Standard Australian English accurately
and appropriately

Summarise the key points in an argument using
skills such as note-taking
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
Identify and analyse – the intent and logical
development of an argument – language used by
the writers and creators of texts to position an
audience – the impact of texts on audiences – the
way in which language and argument complement
one another and interact to position the reader

Apply the conventions of oral presentation in the
delivery of spoken texts

Apply the conventions of discussion and debate

Use evidence appropriately to support analytical
responses

Develop sound arguments using logic and
reasoning, and detect bias and faulty reasoning in
the arguments of others

Plan analytical responses and texts that present an
argument, taking account of the purpose, context
and audience in determining the selected content
and approach

Develop, clarify and critique ideas presented in
their own and others’ arguments using discussion
and writing

Draft, review, edit and refine analytical responses
and texts that present an argument, making
choices about features of texts and using feedback
gained from individual reflection, and peer and
teacher comments

Apply the conventions of spelling, punctuation and
syntax of Standard Australian English accurately
and appropriately in the composition of written
texts.
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Assessment
The award of satisfactory completion for a unit is based on whether the student has
demonstrated the set of outcomes specified for the unit.
For this unit students are required to demonstrate two outcomes. As a set these outcomes
encompass the areas of study in the unit.
Suitable tasks for assessment in this unit are:

An analytical response to a set text.

A creative response to a set text such as a monologue, script, short story, illustrated
narrative, short film or graphic text.

An analysis of the use of argument and persuasive language in text/s.

A text intended to position an audience.
Assessment tasks for outcome 1 must include at least one analytical and one creative
response to set texts.
One assessment task, but no more than one task, in unit 1 must be in oral or multimodal
form.
For EAL students, at least one text provided for the assessment of Outcome 2 should be in
spoken form or have a spoken component to allow for the assessment of listening skills.
RESOURCES
A fantastic internet site for you to look at is www.vcaa.vic.edu.au – you will find the English
course and past Unit 3 & 4 exams and assessor’s reports. Just follow the links.
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TEXT RESPONSE PREPARATION
You need to:

Have your own copy of text.

Take notes while reading/viewing (use a code/colour).

Know your text well by reading/viewing it several times.

Learn the five key aspects of text and how context influences text construction
and development.

Understand the conventions, terms and features associated with different forms
of texts and their genres.

Always try to improve your language.

Improve your essay structure (later).

Find out about context and how it influenced what was written.

Check out useful resources. For example: VCAA website, IMDb, author’s websites,
study guides, newspapers.

Practise writing text responses using time limits (1 hour).

Learn editing skills.

Form a study group for discussion, reading one another’s texts and editing.

Identify and learn Top 10 quotes for each text.

Be aware of different ‘readings’.

Form your own perspective of your selected texts (later).
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I’ve found over many years of marking essays that the more capable students adopt
something of a:
YES
NO
HOWEVER
feel to their opening paragraphs. There is also a real sense of ownership/statement of
contention about what they are writing. Their sentences also have a very active, rather than
passive, voice.
You should avoid like the dread plague simply writing a summary of the plot. Examiners
know the texts and you are only creating a weird sense of déjà vu in doing this.
EXAMPLE 1
(Edgar Allan Poe’s work)
‘Poe’s use of narrator’s voices makes horrific situations and macabre plots seem credible’.
Do you agree?
First job is to plan by unpacking the topic….

This question has honed in a specific aspect of metalanguage – narrator’s voice – that
features in Poe’s work so this cannot be ignored.

What will be my YES-NO-HOWEVER here?

In what way is credibility established?

What specific stories and characters will I focus on?
Student answer:
In his stories, Edgar Allen Poe explores the lives of his characters through offering first
person narration to readers. By using such a technique, readers follow the mental and
physical journeys each character undergoes with minute and insidious detail. However, in
Poe’s Great Short Works, he has a main focus on exploring the workings of the human
psyche and often seems to neglect the credibility of his stories in doing so. Although the
mental instability of some of his characters make horrific situations plausible, Poe includes
realms of insanity and also of rationality that make any plot, whether macabre or mystery
seem less than realistic.
One story Poe writes, although horrific and terrible, could be plausible if we take into account
the obvious mental instability of the narrator. The narrator whose “disease has sharpened
(his) senses, not destroyed not dulled them” takes us on a journey of psychological and
physical distress. The narrator’s insanity becomes apparent immediately in “The tell-tale
Heart” where his constant reassurance of sanity makes us question his real intentions.
Readers further become aware of the narrator’s insanity when he tells us of his plot to “take
the life of the old man” simply because he has an eye that “haunted him day and night” …….
What metalanguage can you see?
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EXAMPLE 2
Maestro question and sample writing
“Neither Paul nor Keller gets the life he expects. Is Maestro primarily a study of
disappointment and loss?”
Student answer:
“First impressions? Misleading, of course, as always. But unforgettable.” We are introduced
to both Paul and Keller in the first chapter of ‘Maestro’, and our first impression of Paul
Crabbe, at age fifteen is that he is a selfish child prodigy who doesn’t have much respect for
the once famous Edward Keller. Paul has dreams and high expectations that he will one day
be the best musician the world has ever seen or heard. He believes this will come true,
especially once he meets and gets to know his new piano teacher….
Your notes:
EXAMPLE 3
The Kite Runner
“Better to be hurt by the truth than comforted by a lie.” The Kite Runner shows how
destructive secrets can be, especially to family relationships.
Student answer:
Khaled Hosseini’s ‘The Kite Runner’ shows that secrets can be detrimental to any
relationship, but particularly to family bonds. Undeniably, the greatest kept secret in the
novel was Baba’s paternity of Hassan. Had Baba’s past indiscretion been revealed to Amir
earlier then his treatment of Hassan may have been different, and a lot of heartache could
have been avoided. Once the secrets are discovered, no matter how much the truth hurts, it
is important that moral wrong-doings are corrected and the truth is recovered.
Your notes:
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EXAMPLE 4
Richard III
“I am determined to prove a villain”. Despite his wickedness, Richard charms the audience
as he does some of the characters in the play. Discuss.
Student answer:
Shakespeare’s King Richard III portrays the enigmatic rise and fall of a man who will do
anything to be King. Right from his opening soliloquy, Richard manages to cast a spell over
the audience with his on stage charisma and enthusiasm. The many roles that he plays,
throughout the play, has a similar effect on many of the characters. However, some are not
easily duped, but they do not have the power to stop Richard on his mesmerising challenge
to become King. Once King, Richard begins to lose that certainty of himself and energetic
qualities that made the audience so intrigued. This strips bare the façade and unveils the
malicious and evil deeds he is content on making.
Your notes:
EXAMPLE 5
Hard Times
“Aged and bent he looked more a wiser man than in the days when in his life he wanted
nothing but facts.” Is Gradgrind simply a product of the times?
Student answer:
Even as Hard Times was being published in the eighteen fifties, Victorian England was
undergoing drastic changes. The industrial revolution was entering its second phase,
bringing along with it not only increasing industrialisation, but also new ways of thinking.
Gradgrind’s philosophy in Hard Times is an amalgamation of several of these emerging
philosophies – Bentham and Mills’ utilitarianism, the dismissal of charity as advocated by
Malthus, and Smith’s idea of self interest. It is this amalgam of philosophies which has a
profound impact on those it comes into contact with, exacerbating the negative traits of some
while diminishing the positive of others. However, even as Gradgrind affects others, so too
do the others affect him.
Your notes:
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Important point about body paragraphs…
So far we have critiqued five examples of introductory paragraphs from VCE students.
Once you’ve laid a really strong foundation in the shape of YES-NO-HOWEVER, it is vital
that the rest of your response should continue to add the layers to your argument.
In this way, each body paragraph should actually read like a mini essay – with strong, clear
topic sentences, elaboration, evidence and a good link to the next paragraph.
The following is a useful table of words and phrases that can be used to link ideas…
To suggest cause and effect…as a result, for this reason, consequently, hence, therefore.
To add similar ideas…also, furthermore, moreover, similarly, in addition to.
To contrast ideas…alternatively, on the other hand, conversely, whereas.
Within your paragraphs, you must give evidence by way of an example or a quote. Here are
some ways to introduce your evidence.

This is demonstrated when…

This is shown when…

For example…

We can see this when…

We can see this in…

An example of this is…

This point can be seen in the way that...

This point is reflected in...

Evidence of this is…

For instance…

The director suggests this through…

This is exemplified by…

This is clearly indicated through...
Effective topic sentences will sum up what the paragraph is going to be about, and this
sentence is usually relevant to the essay topic.
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Succeeding in the VCE – Unit 1 English
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TRANSITIONS AND LINKING EXPRESSIONS
accordingly
earlier
in the second place,
presently
after
even if
etc.
previously
after all
even if
in the meantime
similarly
after that
even so
in the future
subsequently
after which
eventually
in summation
simultaneously
afterward
finally
later
soon
also
first (second, third, etc.)
likewise
that is
and
for example
meanwhile
then
another
for instance
moreover
therefore
an additional
for this reason
nevertheless
to begin with
as a result
from that moment
next
to illustrate this
as soon as
furthermore
one . . . the other
to support this
at first
hence
one . . . and another
thus
at last
hereafter
once . . . now
ultimately
at the same moment
however
on the contrary
when
before long
in addition
on this occasion
while
besides
in comparison
or
whenever
but
in fact
other
yet
conclusively
indeed
otherwise
conversely
initially
preceding this
consequently
in the first place
prior to this
To begin introduce first or main point:
at the outset
first
initially
originally
from the inception
first of all
one . . . the other
primarily
from the beginning
in the first place
one . . . another
to begin (with)
To continue with other points or details:
accordingly
consistent with this
also
in addition
in the second (third)
place
in turn
another
in succession
to continue
besides
in the next place
next
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To conclude or summarise:
as a result
in brief
therefore
to sum up
at last
in other words
thus
ultimately
conclusively
it is apparent
to conclude
finally
it is evident
to recapitulate
in conclusion
in summation
to review
To introduce examples:
an example of this
for instance
to illustrate this
an illustration of this
such as
there are several examples . .
a further example
to exemplify this
there are (two, three, etc.)
for example
To indicate time or chronological sequence or progression:
Past – that which occurred before:
before
earlier
preceding this
beforehand
in earlier time
previously
before this
in the past
prior to this
Present – that which is occurring:
at present
presently
now
currently
now
on this occasion
at this moment
Future – that which is yet to come:
from this time
in the future
in the course of events
hereafter
in future generations
in time to come
eventually
in the approaching days
sooner or later
in the future
(years, ages, etc.)
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Same time as another occurrence:
at the same time
concurrent with this
meanwhile
at that moment
in concert
simultaneously
as this occurred
in the meantime
together
during the same time
just as
while
To introduce evidence or support or reasons:
to bear this out
to confirm this
to substantiate this
moreover
to corroborate
furthermore
to attest to this
to endorse this
to verify this
there are several . . .
to further (confirm, verify,
there are (two, three, etc.)
etc.)
to affirm this
to support this
To introduce a contrast or difference:
antithetical to this
conversely
differing from this
on the contrary
at variance with this
in contrast to this
in spite of this
on the other hand
contradictory to this
inconsistent with this
instead
yet
contrarily
in opposition to this
notwithstanding
unlike this
contrasting this
dissimilarly
nevertheless
To introduce a comparison or similarity:
accordingly
in concurrence with
similarly
analogous
compatible with this
similar to this
in keeping with this
just as . . . so
to balance
in comparison to this
likewise
to collate
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A FINAL CHECK…
Is the opening strong and does it point to the direction I will take in the essay?
Have I explored all the aspects of the topic?
Are there constant references to the topic?
Is there enough detail in the response/have I shown my knowledge of the text well enough?
Are paragraphs linked?
Does the conclusion restate my contention and link (like a circle) back to the intro?
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CONTEXT
Context refers to the surrounding circumstances and influences on the author and the
creation of the text.
These circumstances include:

Political

Social

Educational

Religious

Family

Cultural

Influential people

Work and travel experiences

Economic factors
Knowing the context of a set text and the author before you read it provides you with an
insight into:

The background of the texts and the factors that influenced the construction of the text.

Views and values of the author.
For example: Hard Times by Charles Dickens was originally written as a serial in 1854.
Dickens became involved in a number of organisations that worked to alleviate horrible living
conditions of London’s poor.
You also need to consider the actual context within the text. For example: Geographical
location of story; cultural, political and social setting and how it affects the issues and
development of the text.
For example: A Man For All Seasons is an historical drama set in the time of Henry the
Eighth of England. How does this affect the way we look at the characters?
When studying the poetry of Paul Kelly it is extremely useful to know that he is a modern
Australian poet/song writer and influenced by events that happened in Australia, for
example, the drug taking scene, youth alienation, young people’s hope.
ACTIVITY
List points about the contexts of your texts.
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THEMES AND ISSUES

The themes are messages of a text and are central to the purpose of the text.

Issues differ from themes in that they can be argued because there are two or more
sides.

The writer, filmmaker, playwright or poet selects and arranges material in the text to
support and develop their themes and issues.
These themes or issues may be stated directly by a character or in the author’s introduction
or title or they may be implicit in a character’s action etc.
For example: In Look Both Ways the themes include:
1.
Death and dying
2.
Manipulation by the media
3.
Fear and courage
and how they impact on ordinary people’s lives.
See following list of themes and issues.
Themes and Issues in Texts

Betrayal of friends and/or family.

Change vs. continuity.

Important of courage and determination.

Conformity and individuality – one character standing alone.

Cultural conflict and its effects.

Effect of death on characters.

Dependence vs. independence.

Family relationships – destruction of or building of.

Fantasy vs. reality.

The effects of a patriarchal society on women.

The importance of honour.

Discovering identity.

Jealousy vs. trust.

Man’s justice vs. God’s justice.

Power and politics.

Racial prejudice.

The influence of religion on a society.
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SETTING
Setting = Time + Place
The setting helps the reader visualise the characters in their environment and can create
expectations and understanding about why characters behave as they do.
This is done more easily in plays and films where you can actually see the setting. When
studying texts, it is a good idea to draw labelled sketches of written, physical settings or
arrange your classroom furniture where possible if the text is set indoors. The setting
influences the characters and plot.
PLOT
The plot refers to the events of a text and their order. A plot usually contains some basic
elements and these elements can occur in a variety of structures.
BASIC ELEMENTS OF PLOT
Action:
Introduction of key characters.
Exposition:
Background material provided so that reader feels knowledgeable
about what is happening in text.
Conflict:
Argument, fight, dissatisfaction, unhappiness, etc. with another
character. It can also be internal e.g. character arguing with his
conscience about something he has done or likely to do.
Complication:
When a character is suddenly confronted by an unexpected problem
or unfortunate turn of events e.g. sudden illness.
Resolution:
Coming to terms with problem either by self or with help of others,
difficult choice has been made e.g. friends helping you get over a
death in the family.
Rising action:
Events that lead up to climax.
Climax:
The ‘highest point’ of a single action or story, the big moment
preceding events seem to lead to e.g. the death of a villain. There can
be more than one climax in a plot.
Denouement:
The ‘unknotting’ – the events following the major climax. Sometimes
this may occur only in the final scene.
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STRUCTURE
The structure of the text is the order in which these events happen. This is deliberately
planned to emphasise the message(s) in the most effective manner.
Possible structures include:
(a)
Chronological:
Events arranged according to how they would occur in ‘real time’.
(b)
Retrospective:
Events arranged so story begins with final moment.
(c)
Flashbacks:
Providing background information where necessary.
(d)
Traditional linear: Beginning, middle and end.
CHARACTERS
Characters are persons or creatures that do and say things in text. They help communicate
the author’s messages and point of view and help develop themes through their actions,
thoughts, feelings, descriptions and dialogue.
Character types you should know include:
1.
Protagonist: Most important character, usually hero, in a drama (play, film) or
narrative (story).
2.
Antagonist: Name given to describe character that is in opposition to hero
(protagonist) in a drama or narrative.
Characterisation
Character development
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STYLE
Style is made up of the following elements and they all influence one another.

Language

Tone

Form and genre

Point of view = Whose voice?
LANGUAGE AND EXPRESSION
The intended audience and purpose of the text influence the author’s style by determining
the choice of language needed to suit the audience so that it understands the purpose and
messages conveyed.
Authors can choose to use colloquial, jargon, personal, formal language depending on their
audience and purpose. To make their characters convincing they choose language people
from that time would have spoken. They incorporate symbols.
TONE
Tone indicates the author’s attitude towards his subject matter including characters, themes,
institutions, etc. Tone is a characteristic of voice. In plays and films this can be demonstrated
by changes in an actor’s voice and manner. In writing the author uses language to indicate
tone.
Adjectives to describe tone:
Curious, joyful, cautious, regretful, guilty, thoughtful, aggressive, positive,
negative, fearful, bored, shocked.
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POINT OF VIEW
Point of view is the perspective from which a text is seen or told. You need to ask yourself,
‘who is telling the story?’
Three principal points of view most commonly used are:
The first person narrator in which the point of view is solely that of the character telling the
story.
They may be a central or minor character who either observes or participates in the action.
A first person narrator cannot see into the minds of the other characters. This device
significantly reduces the reader’s sense of author’s presence in the text.
1.
The point of view of a single character who is used by the author as a central observer
or participant in the action (third person narrative).
2.
The omniscient (godlike) point of view enables the writer to present the inner thoughts
and feelings of his characters. The narrator has no part in story.
FORM AND GENRE
An author chooses the form and genre/text type that enables them to best communicate
their message(s). An author needs to know the conventions of their chosen form and genre
and to feel comfortable writing in it.
ACTIVITY
List as many different (a) forms and (b) genres as you can.
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ACTIVITY
Select one of your texts and describe its:
(a)
Form
(b)
Language
(c)
Tone
(d)
Genre
(e)
Point of view
CONVENTIONS, TERMS AND FEATURES
Conventions are the customary practices concerning form, structure and language that
people expect when reading or watching a text. For example: A play will be structured using
scenes and stage directions and when it is performed there will also be dramatic features
like projected voices of actors, asides in Shakespeare when one character speaks and the
other characters act as if they don’t hear him.
Knowing the guidelines for conventions makes it easier to follow and understand a text.
NOVELS
Novels are written in prose and are narratives (tell a story). They are usually divided into
parts and/or chapters. Novels can be structured in a variety of ways and be told from
different points of view.
PLAYS
Plays are no more difficult or easy to study than novels, poems, etc. As long as you realise
that a play needs to be studied as both an aural and visual form, and are familiar with
dramatic conventions used in plays, you will have no trouble.
One of the most important things to remember when you are studying a play is the form and
staging devices that are part of style. You need to pay attention to discussing the form
(dramatic techniques) and not just the narrative (story).
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KEY FILM TERMS
ACTIVITY
Complete the following table:
Term
Explanation
Example
Mise en scene
Framing
Camera
Angles
Shot sizes
Movement
Editing
Animation
Montage
SFX
Lighting
Costume + makeup
Sound track:
Dialogue, music,
silence
Deep focus
 The School For Excellence 2017
Succeeding in the VCE – Unit 1 English
Page 21
ACTIVITY
TEXT CHEAT SHEET
 Andrea Hayes 2007 Cambridge Checkpoints 2008 VCE English Units 3 & 4
TITLE:
AUTHOR:
Themes
4-5
Characters
Quotes
3 points
per
character
Plot
8-10 (TP)
Setting
3-5
Style
3-5
POV,
language,
genre,
tone,
structure
 The School For Excellence 2017
Succeeding in the VCE – Unit 1 English
Page 22
FOUR STEPS TO TEXT RESPONSE
 Andrea Hayes 2007 Cambridge Checkpoints 2008 VCE English Units 3 & 4
Step 1: Dissect topic.
Step 2: Plan.
Step 3: Write.
Step 4: Review and edit.
 The School For Excellence 2017
Succeeding in the VCE – Unit 1 English
Page 23
1. DISSECT TOPIC

Identify all parts of the topic – at least three.

Identify themes, issues and ideas in topic and ones that are missing.

Note key words (underlined in example).

List the questions the topic is asking and link to themes and protagonist.

Identify author’s point of view.

Challenge topic if necessary.

Decide your perspective on the topic.

Use a dictionary if necessary.

Pay careful attention to directions with topic .e.g. ‘discuss’.
SAMPLE TOPIC
‘We admire More not just because of the stand he takes but because the playwright has
shown us his humanity in many different situations.’ Discuss.
THEMES, ISSUES, IDEAS IN TOPIC

Power vs. corruption.

God’s law vs. King’s law.

Personal integrity.

Justice.
Questions on topic – linked to themes and protagonist:

Why do we admire More? – integrity, his moral strength, brave, clever.

What is the ‘stand’ he takes? – moral stand, God’s law over King’s law.

How does Bolt ‘show his humanity?’ – despair, frustration, ‘common man’,
stubborn – weaknesses (flaws) and strengths.

What ‘different situations’? – family, before king, awaiting death.

What else does Bolt show? – More demonstrates extraordinary humanity too,
contrasted with Common Man.

Is More too good to be true? – ‘reluctant hero’, one we should aspire to be.
Definition: Humanity: Quality and conditions of being human – humans are flawed
individuals.
Hint! Challenge topics that include words: ‘only’, ‘every’, ‘always’, never’.
 The School For Excellence 2017
Succeeding in the VCE – Unit 1 English
Page 24
2. PLAN

Allow 10% of total essay time for planning.

Brainstorm or construct concept map listing points and evidence.

Order your points using the No-fail formal essay structure.

Write key points at topic sentences.

Rewrite your perspective as an introduction.
3. WRITE
LINK WORDS
4. REVIEW AND EDIT
 The School For Excellence 2017
Succeeding in the VCE – Unit 1 English
Page 25
TEXT RESPONSE CHECKLIST
1.
Perspective on text prompt in introduction.
2.
Author’s name, text title, form in introduction.
3.
Key points related to themes/issues in introduction.
4.
Key words or synonyms from prompt used.
5.
Formal structure; intro-body-conclusion.
6.
Topic sentences in all paragraphs.
7.
Paragraphs are linked using link words and phrases.
8.
All points relate to key textual elements.
9.
Quotes support points and are quoted correctly.
10.
Formal language is used.
11.
‘I think’, ‘I feel’, ‘In my opinion’ are not used.
12.
No new points in conclusion.
13.
Response is edited carefully.
 The School For Excellence 2017
Succeeding in the VCE – Unit 1 English
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ANOTHER EXAMPLE
STEP 1: DEFINE TOPIC
Hamlet shows the dangers of pretending to be mad because madness reigns in Denmark.
Discuss.

Identify all parts of topic:
What are the dangers of Hamlet’s “antic disposition”?
Why does he pretend to be mad?
Does he really become mad?
Does madness reign in Denmark?

Identify key words:
“Pretend” – What does it mean?
“Mad” – How do we define madness?
“Dangers” – What is meant by this?
The state of Denmark.

Identify themes addressed in topic:
Madness.
What are the alternatives?
Denmark as an unweeded garden that goes rank.

Form your opinion:
Yes and No/Alternatives?
STEP 2: PLAN
Detailed planning is essential. Spend 10% of allotted essay time on a plan.
(a)
Determine your point of view on the topic.
(b)
Have a list of ideas/themes/issues pre-prepared. You know these are the key
elements of your essay.
(c)
Determine a sequence in which your ideas will be revealed.
 The School For Excellence 2017
Succeeding in the VCE – Unit 1 English
Page 27
GENERAL SAMPLE PLAN
Hamlet’s madness
Body

Contention.
Why did he pretend?

Definition of terms.
What else was it?

Explain using key points.
How did the others take it?

Separate paragraph for
each key point.
Who turned the madness into a
weapon against him?

Topic sentence.
Why?

Example.

Interpretation.
Who took him to be mad?
People, the king, Polonius,
Ophelia, Gertrude friends.

Answer statement using
interpretive findings.

No new points.
Conclusion
Understand reasons behind the
‘madness’ and how it occurred
and who was affected.
Was this the message that
Shakespeare wanted
conveyed?
Is it relevant to a contemporary
audience?
WHAT NOT TO DO
 Andrea Hayes 2008 Cambridge Checkpoints 2009 VCE English Units 3 & 4

Don’t write how you speak.

Avoid starting all the sentences with the same words, e.g. ‘The novel says …’

Make sure you haven’t written one giant paragraph!

Don’t write, ‘I think the story was boring’.

Don’t write a summary of the text.

Don’t call a novel a ‘film’.

Don’t change tense during essay.
 The School For Excellence 2017
Succeeding in the VCE – Unit 1 English
Page 28
ACTIVITY
What is wrong with the following examples taken from various text responses?
(a)
Oedipus’ mum and dad.
(b)
Could of.
(c)
Plath’s poems figure to be true because of the real lifeness they give out to the reader.
(d)
In ‘I for Isobel’ Amy explores.
(e)
Hamlet is all about madness cos Hamlet is mad himself.
(f)
Citizen K.
(g)
The soldiers’ are held in cells’ until there execution.
(h)
I didn’t like this $%$&* book at all.
(i)
U don’t c protgnist until l8 in the film.
 The School For Excellence 2017
Succeeding in the VCE – Unit 1 English
Page 29
ACTIVITY
When do you use paragraphs?
How do you use quotation marks?
When do I use apostrophes?
Why are my sentences so long?
 The School For Excellence 2017
Succeeding in the VCE – Unit 1 English
Page 30
INTRODUCTIONS
THINGS TO REMEMBER

Don't begin an essay with "I agree with the above statement".

Don't begin by restating the topic.

Don't use pre-written introductions.

Do address the topic.

Do try to be original or at least engaging.
Two possible quick fire introduction starters:
1.
Use an issue to generate an opening line.
How did Hamlet’s depression and reluctance to carry out the revenge of his father’s
death affect his decision to be “mad”?
2.
Use the ‘synonym trick’ “Pretend” (assumed) were significantly (major) undermined
(insurrection) by the actions of the main protagonists (trio).
INTRODUCTION CHECKLIST
 Andrea Hayes 2009 Cambridge Checkpoints 2008 VCE English Units 3 & 4
1.
States perspective on the topic.
2.
Includes key points related to themes.
3.
Written clearly.
4.
Uses your own voice.
5.
Mentions form of text eg. film, play.
6.
Includes author’s name.
7.
Uses key words or synonyms from topic.
8.
Uses different sentence beginnings.
9.
Uses at least two different verbs.
10. Can include small quote (not essential).
 The School For Excellence 2017
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Succeeding in the VCE – Unit 1 English
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VCE ENGLISH AND ENGLISH AS AN ADDITIONAL LANGUAGE (EAL)
TEXT LIST 2017
VCE English students
A total of four texts across the Units 3 and 4 sequence must be selected from the text list
published annually by the VCAA.
For Unit 3 Area of Study 1, students must read and study two selected texts from List 1.
For Unit 4 Area of Study 1, students must read and study one pair of texts (that is, two texts)
from List 2.
At least two set texts must be selected from the following categories: novels, plays,
collections of short stories or collections of poetry.
VCE EAL students
A total of three texts across the Units 3 and 4 sequence must be selected from the text list
published annually by the VCAA.
VCE EAL students must read and study one selected text from List 1 and a pair of texts (that
is, two texts) from List 2.
Two texts must be used for Unit 3 Area of Study 1 – one selected from List 1 and one of the
pair selected from List 2.
The pair of texts from List 2 should be used for Unit 4 Area of Study 1.
In either Unit 3 or 4, at least one set text must be a written text in one of the following forms:
a novel, a play, a collection of short stories or a collection of poetry.
List 1
Novels
Adiga, Aravind, The White Tiger (3)
Grenville, Kate, The Lieutenant (1) (A)
Kent, Hannah, Burial Rites (3) (A)
Le Guin, Ursula, The Left Hand of Darkness (1)
London, Joan, The Golden Age (1) (A)
Shelley, Mary, Frankenstein (2)
Winton, Tim, Cloudstreet (4) (A)
Witting, Amy, I for Isobel (3) (A)
 The School For Excellence 2017
Succeeding in the VCE – Unit 1 English
Page 32
Short stories
Adichie, Chimamanda Ngozi, The Thing Around Your Neck (4)
Stories for study: ‘Cell One’, ‘A Private Experience’, ‘Ghosts’, ‘On Monday of Last Week’,
‘Jumping Monkey Hill’, ‘The Thing Around Your Neck’, ‘The American Embassy’, ‘The
Shivering’, ‘The Arrangers of Marriage’, ‘Tomorrow Is Too Far’, ‘The Headstrong Historian’
MacLeod, Alistair, Island: Collected Stories (2)
Stories for study: ‘The Boat’, ‘The Vastness of the Dark’, ‘The Golden Gift of Grey’, ‘The
Return’, ‘The Lost Salt Gift of Blood’, ‘The Road to Rankin’s Point’, ‘The Closing Down of
Summer’, ‘To Every Thing There Is a Season’, ‘Second Spring’, ‘Winter Dog’, ‘The Tuning of
Perfection’, ‘Vision’, ‘Island’
Plays
Davis, Jack, No Sugar (4) (A)
Euripides, ‘Medea’, in Medea and Other Plays (3)
Shakespeare, William, Measure for Measure (2)
Poetry/Songs
Donne, John, Selected Poems (2)
Skrzynecki, Peter, Old/New World: New & Selected Poems (1) (A)
Multimodal texts
Films
Mankiewicz, Joseph L (director), All About Eve (4)
Perkins, Rachel (director), Mabo (4) (A)
Other
Spiegelman, Art, The Complete Maus (4)
Non-fiction texts
Boo, Katherine, Behind the Beautiful Forevers: Life, Death, and Hope in a Mumbai Undercity
(1)
Wolff, Tobias, This Boy’s Life (4)
 The School For Excellence 2017
Succeeding in the VCE – Unit 1 English
Page 33
List 2
For VCE EAL students only, one text in each pair is nominated for achievement of Unit 3
Outcome 1: Reading and creating texts. This text is indicated by (EAL).
Pair 1:

Non-fiction text
Davidson, Robyn, Tracks (1) (A) (EAL)

Multimodal text – Film
Penn, Sean (director), Into the Wild (1)
Pair 2:

Multimodal text – Film
Eastwood, Clint (director), Invictus (1) (EAL)

Novel
Malouf, David, Ransom (1) (A)
Pair 3:

Non-fiction text
Funder, Anna, Stasiland (1) (A) (EAL)

Novel
Orwell, George, Nineteen Eighty-Four (1)
Pair 4:

Non-fiction text
MacCarter, Kent and Lemer, Ali (eds), Joyful Strains: Making Australia Home (1) (A)
(EAL)

Novel
Lahiri, Jhumpa, The Namesake (1)
Pair 5:

Play
Miller, Arthur, The Crucible (1) (EAL)

Novel
Brooks, Geraldine, Year of Wonders: A Novel of the Plague (1) (A)
 The School For Excellence 2017
Succeeding in the VCE – Unit 1 English
Page 34
Pair 6:

Play
Murray-Smith, Joanna, Bombshells (1) (A) (EAL)

Novel
Atwood, Margaret, The Penelopiad: The Myth of Penelope and Odysseus (1)
Pair 7:

Play
Wright, Tom, Black Diggers (1) (A) (EAL)

Novel
D’Aguiar, Fred, The Longest Memory (1)
Pair 8:

Non-fiction text
Yousafzai, Malala, with Lamb, Christina, I Am Malala: The Girl Who Stood Up for
Education and Was Shot by the Taliban (1) (EAL)

Multimodal text – Film
Cole, Nigel (director), Made in Dagenham (1)
 The School For Excellence 2017
Succeeding in the VCE – Unit 1 English
Page 35