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

March 9, 2017

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Go ahead and tilt your mobile the right way (portrait). the kool kids don't use landscape....

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

For many students, writing creative pieces can be slightly daunting. For some, it is about unleashing the writer within as the boundaries and thematic constraints that exist in Text Response are lifted. For others, it can be an opportunity to discover new writing styles, branching out from the generic T-E-E-L structure.

Formats of imaginative pieces include:

• short narratives,
• a personal diary entry ,
• chronicling the character's thoughts,
• and monologues.

Writing in an imaginative style allows you to draw from your own morals, views and feelings. You can weave in personal anecdotes, experiences, and metaphorical language which gives one's writing that pizazz and individualist factor!

Moreover, you can showcase how you have perceived and interpreted the characters within the novel/film, the landscapes they inhabit. Alternatively, you can step into different personas. For example, for the topic of conflict, I can write as an injured army medic, a doctor, a foreign correspondent and a war photographer.

However, imaginative writing also has many pitfalls students tumble into (do not despair; you can get out of it!):

1) Don't get too caught up in emotions and flowery language.

Great imaginative pieces are not only graded on how good your story telling skills are. More importantly, your teachers would be grading on the palpable links to the themes of the text and prompt you have been given.

In Year 11, when I wrote an imaginative piece, I went overboard with the flowery metaphorical language. My teacher said ‘Overall, the piece is good however, at some parts it sounded like purple prose.’ When I read it over now, I shudder a little.

2) In Reading and Creative, there is greater emphasis on extrapolating themes and ideas from your studied text.  

So, those radical and out-of-the box ideas and views you have in relation to the text can now be used.

For example, the overarching themes in  Every Man In This Village Is A Liar  encompass the Palestinian-Israeli conflict, inequality (the unequal status of women in Middle East), the effect of war on the physical body and the human psych and, how the media portrays war and violence. The starting point to planning any context piece is to use quotes and ideas within your text. Infer meaning from those quotes and main ideas and ask yourself:

• 'Does it hold a great degree of relevance to issues prevalent today?'
• 'Can I link it to my sac/exam prompt?' 

So, here's an example of planning a creative piece. Two of my favourite quotes from  Life of Galileo  are:

'Science is the rightful, much loved daughter of the church.'

‘Our ignorance is limitless; let us lop off a millimeter off it. Why try to be clever now that we at last have a chance of being less stupid.’

In essence, this conveys the overarching theme of science vs. religion, and how Church and the inquisition exploit the peoples' views through their own ignorance. Their fear of change, pioneering and gaining of new knowledge stems from the prospect of chaos if society's entrenched values are uprooted. I interpreted this as 'ignorance is not bliss' and instead, it breeds fear in people. This is in relevance with the tragic events that has occurred in recent years - acts of terrorism, and/or racially motivated attacks. In the context of our modern society, religion and science still maintain an intriguing and tumultuous relationship. As the advancement of technology and ethics are not at equilibrium, this is where controversy arises. Conversely, we now have to consider whether this relates to the prompt:

A person never knows who they truly are, until tested by conflict.

Possible idea for this example:

"Is it ethical to administer a new drug capable of rewiring and regenerating brain function at a neuronal level to someone who has sustained extensive brain damage? Is it deemed humane to potentially change a person's character? At what personal cost will this have? - Playing god."

Tips to achieve A+ in creative writing

1. ensure it is related to the text..

A lot of students believe that the reading and creating essay is exactly the same as the old context essay. However, there is a significant difference! While a creative context essay does not have to link to the text in any way and only needs to explore a certain idea (e.g. encountering conflict), the reading and creating essay needs to offer a relevant interpretation of the text as well as show understanding of the text’s messages and how the text creates meaning .

The easiest way to write a creative response that links clearly to the text is to write about a scenario that is related to the plot line. You can do this by writing a continuation of the storyline (i.e. what happens after the end?), or by filling in gaps in the plot line which the author did not explicitly outline (what happens behind the scenes that caused the outcome?) In this way, your response will be completely original and still demonstrate an understanding of the world of the text.

2. Write in a way that shows understanding of how the text creates meaning.

When creating your response, be aware of the features present in your text (such as characters, narrative, motifs etc) that you can use in your own essay. For example, if the text is narrated from a first-person perspective, you may also mimic this in your essay. Or, you could tell it in first-person from another character’s point of view to demonstrate another interpretation of the text. You may also include motifs from the text into your own response. But be careful when making decisions about structure, conventions and language. If the text is written in very formal and concise language, it is probably not a good idea to use slang. Similarly, if the text is a play, structuring your response as a script might be a better choice than writing a poem!

3. Explore the explicit and implied ideas and values in the texts.

Lastly, remember that whilst it is a creative response, your purpose is NOT to tell a nice story but to explore the ideas, values and messages left by the author! There will always be various interpretations regarding these values, and you can express your understanding of the text through your portrayal of certain characters, or through the events in your response. For example, if you were studying Measure for Measure and wanted to explore how human nature cannot be restrained or limited by law and punishment, you could write a continuation of the play in which the city of Vienna has reverted to its original state of moral decay.

4. Show, don't tell

Creative essays are great because they offer interesting and unique stories; however, there is one common downfall that occurs in writing. Some students create pieces that are  too  straightforward. Rather than using vocabulary, imagery and symbolism to express a point, they simply write down a statement that sums up what they wish to say. Your aim is to invite the reader to  experience  the story through your words. This can be done through the character’s thoughts, feelings, actions etc. Thus the well-known phrase among writers, ‘ Show, don’t tell’ . Keeping this idea in mind turn you into a much more successful writer – and you’ll see the difference!

Tell: Katie was very happy.

Show: Katie’s face lifted. Little wrinkles appeared around her bright eyes, her dimples made an appearance that dug into her cheeks as a big grin emerged to show her perfect teeth.

Tell: She felt horrible for the weeping children.

Show: Guilt throbbed inside her as she stared at the weeping children. Her heart pounded against her chest, her hands trembling beside her still body, her brain screaming at her to do  something .

Tell: I was scared.

Show: I hear my breathing; heavy, and rapid. I shut my eyes tightly. I can feel goosebumps running up my arms and down my back.

To test whether or not you are ‘telling’ instead of ‘showing’, think about whether or not your sentence leaves room for questions. In Example 1, ‘Katie was very happy’ would leave the reader thinking – what thought or action showed that she was happy? Whereas ‘show’ demonstrated that she was happy without directly stating it.

The key is to go into the finer details of your story!

Finally, have fun and enjoy the process of planning a creative narrative, let your imagination run a little wild and rein it in with your knowledge! Hopefully these tips were helpful and you are now more confident and informed on the Reading and Creating response! 

This blog post was written by Amanda Lau, Rosemary Chen, and Lisa Tran.

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

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

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

1. What Is The Creative Response?

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

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

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

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

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

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

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

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

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

Characterisation

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

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

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

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

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

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

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

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

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

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

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

Part 1 – Metalanguage Word Bank For Books

Part 2 – Metalanguage Word Bank For Films With Examples

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

4. LSG's unique REPLICATE and IMAGINE Strategy

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

Step 1: Read

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

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

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

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

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

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

Step 2: Understand the World of the Text

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

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

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

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

Step 3: Implement Your Understanding ‍

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

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

5. Sample A+ Creative Response

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

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

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

6. Writing The Written Explanation ‍

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

7. Resources To Help You Prepare For Your Creative Response

Youtube videos ‍.

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

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

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

Blog Posts ‍

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

5-Step Recipe for Creative Writing   ‍

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

"Creative Response to Text" Ideas ‍

Written Explanation - Explained ‍

Reading My 10/10 Marked CREATIVE GAT essay ‍

VCE Creative Response to Runaway by Alice Munro

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

VCE Creative Writing: How To Structure Your Story

Study guide ‍.

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

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

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

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

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

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

The Skeleton of a Good Story (With Steps!)

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

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

1) The Status Quo

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

2) The Want

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

3) The New Situation

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

4) The Plan

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

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

5) The “Eureka” Moment

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

6) The Resolution

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

Experiment!

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

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

Creative Responses in VCE Literature

This was my favourite SAC in Literature; it allows so much creative freedom in creating and recreating a literary work. When else will you be able to depart from the (admittedly rather boring) standard essay structure?!

In your adaptations and transformations SAC (see my blog post about this literature assessment  here !), you learnt how the  meaning  of the text changed as the form changed. Here’s  your  opportunity to change the meaning of the text, maybe emphasising a particular thematic idea, or perhaps recreating a completely new perspective. Remember – you have almost complete creative licence in this assessment…use it to your advantage!

But don’t forget that the most important part of this task is that you must have a  highly convincing connection between the original text and your creative response . There must be a tangible relationship present, through an in-depth understanding of the original text’s features. These features include characterisation (what motivates these characters), setting, context, narrative structure, tone and writing/film style. Establishing a clear nexus between the original text and your creative piece does not mean you need to replicate everything of the text; you can stylistically choose to reject or contrast elements of the original text – as long as these choices are deliberate and unambiguous. Therefore, your creative response must demonstrate that you read your original text closely and perceptively by acknowledging these features of the text.

You can establish this relationship by:

• Adopting or resisting the same genre as the original text : e.g. an epistolary genre (written in letters) – do letters make an appearance in your text? Is that something you want to highlight? What about writing a monologue or a script if the text is a film or a play?
• Adopting or resisting the author’s writing/language style : does your writer characteristically write plainly or with great descriptive detail? What about irony or humour? Consider the length and style of sentences. Are there frequent uses of symbols or metaphors?
• Adopting or resisting the text’s point of view : do you want to draw readers’ attention to another thematic idea that was not explored in the original text? Will you align with the author’s views and values or will you oppose them? (See my views and values blogpost here!)
• Adopting or resisting the original setting, narrative structure or tone
• Writing through a peripheral character’s perspective : give a voice to a minor character that didn’t have a detailed backstory. Find a gap in the text and create and new perspective.
• Developing a prologue, epilogue or another chapter/scene : what new insight can you add with this addition and extension of the text? It must add something new – otherwise it is a redundant addition.
• Rewriting a key event/scene from another character’s point of view : does this highlight how important narrative perspective is?
• Recontextualising the original text : by putting the same story or characters into a completely different context, for example in the 21st century with technology, how does the meaning change in the narrative?

I chose to write a creative piece from the perspective of an inanimate object that followed the protagonist’s journey throughout the entire film, providing an unexpected point of view of the text. Be original and most importantly, enjoy it!

If you're doing a creative piece - whether for English or Literature - you'll find the following blogs super helpful:

The Ultimate Guide to VCE Creative Writing

‍ 5-Step Recipe for Creative Writing

How To Achieve A+ in Creative Writing (Reading and Creating)

David Malouf’s Ransom and Stephan Frears’ The Queen was a brand-new text pairing added to the study design in 2020. It is a unit with many nuances and intricacies to discuss, making it a perfect pairing to unpack in an essay topic breakdown!  

For some context, backstory and a plot summary of both Ransom and The Queen , head to an earlier post Understanding Ransom and The Queen . This may help with your understanding of the essay prompt later in this post. And if you need a refresher on what the Comparative is, see our Ultimate Guide to VCE Comparative .

Overall, both Ransom and The Queen overlap fairly heavily in terms of key themes, ideas and messages. Even if you haven’t watched The Queen or read Ransom yourself, the essay topic I have chosen can give you an idea of how to seamlessly integrate such thematic overlaps and similarities into your own writing, whilst also acknowledging the differences in both texts.

Breaking Down the Prompt: THINK

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

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

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

The Essay Prompt:

'it is true that the gods made me a king, but they also made me a man, and mortal.' – Priam (87-88)

'Your Majesty, there’s a last minute addition from Downing Street. They’re suggesting adding and as a grandmother here.' – Janvrin (Script, 87th Minute)

How do both texts explore the tensions that are created between a person’s public and private life? 

Step 1: Analyse 

This prompt is both a quote-based, and a how-based prompt (learn more about the five types of prompts here). This means that the examiner wants us to explain how the text creators (Frears and Malouf) convey tensions between one’s public and private life, using the quote to help us do so.

Step 2: Brainstorm

First, let’s break down the prompt part of the essay question. Here, the keywords are:

‘tensions’ - we have to focus on the contrast, and the hardships, that stem from the characters in both texts as they juggle their roles as leaders and individuals of their own accord. These difficulties are explored in more detail in an earlier LSG blog Ransom and The Queen.

‘public and private lives’ - invites us to consider the individuals in both texts, specifically leaders such as Queen Elizabeth and Priam, who have distinctly different public and private personas. Specifically, we want to focus on how the differences that arise between these two ‘lives’ suggest that compromises must be made in order for leaders to perform their role to its greatest potential.

Now it’s time to break down the quote itself!

Both the quotes from Ransom and The Queen illustrate points of tension in the lives of leaders.  

Priam’s quote occurs toward the climax of Ransom . The examiner is directing you to discuss how being ‘a man’ , and therefore seemingly unremarkable in nature, challenges Priam’s existence as a ‘king’ , thus creating a point of tension in his reign.

Similarly, Janvrin’s quote also highlights how being a ‘grandmother’ is a role that must be performed by Queen Elizabeth in conjunction with her existence as the Queen of England. Yet, the inclusion of ‘Downing Street’ in this quote also moves you to consider how the queen’s own private affairs, such as Diana’s death, must be handled in conjunction with an outside team such as Tony Blair as British Prime Minister, thus entangling both her public and private personas.

Through both quotes, it is evident that when responding to how Frears and Malouf explore tensions in their respective texts, you should analyse the key characters of each text and their roles as both leaders and individuals in their own right. 

I’ve grouped my ideas in a logical order so you can easily identify how each idea relates to my essay plan in Section C. During your own brainstorming, this will be difficult to achieve, so just keep in mind that you don’t need a logical layout of ideas until the planning stage!

• At the beginning of both texts, each protagonist fails to recognise and adequately perform their role as a ‘man’ and ‘grandmother’ respectively, due to their duties as a leader. This leaves them out-of-touch with the people around them, suggesting that being a leader can negatively impact one’s relationships with those they care about most.
• Priam refers to himself as ‘mortal’ in the prompt, revealing his own vulnerability. Furthermore, the inclusion of ‘Downing Street’ encourages discussion surrounding Tony Blair and his role as a public figure. In both cases, these men express their emotions to their people and those closest to them, leaving them open to backlash and criticism of their authority as leaders.
• For Queen Elizabeth, expressing her grief ‘as a grandmother’ allows her to connect emotionally to her people and regain their support, whilst for Priam, appearing to Achilles simply as ‘a man’ enables him to return to Troy both successful in his mission and respected by his people. This reveals that leaders should not let their public and private lives evoke tension, but rather should harness elements of each respective realm to build a modern, effective and relatable leadership style.

Step 3: Create a Plan

By dissecting the prompt’s keywords and briefly analysing the quote and its meaning, I have come up with three main points:

Paragraph 1: In both texts, Frears and Malouf suggest that in allowing themselves to be controlled by their public personas, leaders may struggle to connect with both their people and their own families

• Ransom : Somax is initially unable to connect with Priam due to his adherence to royal protocol and tradition
• The Queen : Queen is unable to provide emotional support to her grandsons following their mother’s death, due to her own stoicism and emotionally distant nature 

Paragraph 2: Yet, in revealing an aspect of their personal lives, leaders risk compromising their public authority

• Ransom : When Priam breaks protocol and leaves the walls of Troy, the Trojan people question the strength and competence of their leader
• The Queen : Tony Blair’s unconventional style means he initially fails to gain respect from the Royal Family, despite being elected British Prime Minister

Paragraph 3: This delicate balance between one’s public and private lives is achieved most successfully when leaders reveal an element of their private selves and make themselves vulnerable and relatable to their people.

• Ransom : Priam recognises the importance of being a father as well as a leader, allowing him to bury Hector’s body whilst retaining respect and admiration from his people
• The Queen : By adopting Blair’s suggestions and addressing the British people in an honest, vulnerable way, Queen Elizabeth is able to regain their trust and respect.

Stephen Frears’ film The Queen , set in contemporary England, and David Malouf’s novel Ransom , taking place in Ancient Greece, both explore the concept that one’s public identity can create tensions between their ceremonial constructed persona, and their own private identities. In both texts, Frears and Malouf (1) suggest that in allowing themselves to be controlled by their public personas, leaders may struggle to connect with their people, and their own families. Yet, in revealing an aspect of their own lives, they may also risk compromising their own public authority. This delicate balance between one’s public and private lives, therefore, is conveyed throughout Ransom and The Queen to be achieved most successfully when leaders reveal an element of their private lives and make themselves both vulnerable and relatable to their people, harnessing aspects of both their public and private lives in order to confidently perform their roles to the greatest extent possible. (2)

Annotations (1) Make sure to refer to the author/director in your introduction and continually throughout your essay. This helps to ensure you are considering their purpose and its intended effect/message to the audience (see Views and Values for more on this).

(2) This is where I have included the broader implications of the topic – it will be my final paragraph where I somewhat challenge the prompt

In both Ransom and The Queen , leaders that allow themselves to be dictated by their public identities and subsequent rules, protocols and expectations, are portrayed to express difficulty in connecting with their constituents and their own families. In The Queen , Queen Elizabeth finds comfort in placing 'duty first, self second', as in performing in her role as a monarch for many years, she foregrounds such identity over her ability to connect personally with those around her. However, this struggle to formulate intimate connections is conveyed by Frears (3) to, at times, be at her detriment. Upon meeting the Royal Family, Cherie Blair, who symbolises the wider British society (4) , describes that family as 'a bunch of free loading, emotionally retarded nutters'. This blunt description serves to indicate that in acting according to 'how [she] was brought up' and 'all [she’s] ever known', the queen compromises her public image and relatability to her people. In a similar manner, in Ransom , Somax describes only having 'seen King Priam at a distance…he is surprised at how old he looks', clearly illustrating the emotional and physical distance between the king and the people of Troy. Such distance is portrayed by Malouf to not only affect the way the people view their king, but also the manner in which Priam himself is able to formulate and express basic human emotions, as 'royal custom – the habit of averting his gaze', initially prevents him from connecting with Somax on a more intimate level. Through this, both Malouf and Frears highlight how, (5) in allowing themselves to be consumed by their roles as leaders, both Priam and Queen Elizabeth have sacrificed their ability to truly connect and engage with those around them, leaving them out-of-touch with the same people they govern. However, this lack of connection is also shown to extend to their families, as the queen is pictured by Frears to be physically disconnected with her own grandsons. Upon learning of Diana’s death, Prince Charles is depicted delivering the news to his sons, whilst the queen watches on from the corridor, as Frears uses a mid-shot with the door frame obstructing the audience’s view of Queen Elizabeth herself. This can be seen to symbolise (6) the ‘barricade’ between the queen and her own family, as her role as monarch separates her from those she loves. (7) In a similar manner, Priam’s only recollection of the birth of his son is 'recall[ing] a series of small squalling bundles', as his 'role…to hold myself apart in ceremonial stillness' directly prevents him from understanding, and becoming involved with his family, emotionally distancing himself from his own sons. Consequently, Frears and Malouf convey to their audience that the role of being a leader can negatively impact upon one’s relationship with others, serving as a constant burden and barrier to achieving intimate emotional connections.

Annotations (3) In writing ‘conveyed by Frears’ as opposed to ‘conveyed’ I am trying to demonstrate that I am aware the film is a construction made by a director (in this case Frears) for a purpose – he is trying to communicate with the audience through the actions of his characters. See LSG’s Views and Values blog post or How To Write A Killer Text Response (the Views and Values section) for more on this.

(4) In this case, I am attempting to go ‘beyond’ what is simply portrayed in this scene and incorporate the setting of the text – in this case, highlighting my awareness of the time and place in which the film is set (i.e. context ). While aimed at Literature students, this blog on context is helpful as it walks you through some contextual aspects you should consider. 

(5) This is one of the main ways I would link my two ideas in Year 12, and draw ‘mini conclusion’ or a link (think of the TEEL structure ) back to the topic. Yet, in beginning with ‘Malouf and Frears’, I am keeping the purpose of each text central to my link.

(6) When using film techniques , try to analyse their meaning. Rather than simply stating ‘Frears uses a mid-shot’, tell your assessor WHY he does this and what its intended effect is on the audience. This not only acts as a form of ‘textual evidence’ but also demonstrates your understanding of the text itself.

(7) In this sentence, I have tried to draw connections between the physical world and the author’s purpose in portraying the isolation of the British Royal family. Here, I’m referring to the ideas, views and values of the author/director.

On the other hand, however, in revealing one’s private life and expressing humility, leaders are also shown to risk their public authority. In Ransom , Priam becomes determined, following the death of Hector, to try 'something impossible. Something new' and allow for an element of vulnerability to be expressed, in order to successfully ransom his son’s body. Such an unusual, unconventional method of leadership, however, is depicted to take the people of Troy by surprise, as they witness their leader dressed 'in plain white' (8) , stripped of his former royal gown. Therefore, the Trojans, who 'crowd the ramparts of the city' and 'line the walls of Troy' each day, in an attempt to view and 'cheer' their leader, 'do not know how to react' upon viewing Priam in such a common, ignoble state, reconsidering the way in which they regard and respect him. In a similar manner, in The Queen , Tony Blair is a Prime Minister whose ‘unconventional' style of leadership is seen to initially unnerve the Royal family. Upon being elected, Blair is described in a montage scene (9) to be a 'wonderful new Prime Minister…a compassionate young man…such a breath of fresh air', a different style of leader to previous Prime Ministers whom the queen previously worked with. The description of Blair as a 'compassionate young man' is significant as such compassion, combined with his youth, acts as a deterrent for the Royals in showing him respect as a leader, taken aback by his unusual views and values. Consequently, upon the death of Diana, although Blair attempts to advise Queen Elizabeth on behalf of the British People, Prince Phillip declares 'who does he think he’s talking to? You’re the sovereign. The head of state. You don’t get dictated to' clearly symbolising their lack of respect and willingness to consider Blair’s perspectives and ideas. In this way, Frears highlights how, in adopting an unconventional style of leadership, those in power may struggle to gain the respect of others around them, particularly their fellow leaders, with the Queen Mother’s statement of 'silly Mr Blair and his Cheshire cat grin' clearly portraying Tony Blair’s lack of authority within the Royal Family. Whilst, in Ransom , the people of Troy struggle to come to terms with Priam’s own change in his leadership style, wondering 'is the king deserting them?', those in The Queen are seen to accept Blair’s leadership style, evident through his 'landslide victory', as, unlike the people of Troy, they are seen to be open to a more progressive form of leadership. In both texts, however, Frears and Malouf demonstrate that leaders who illustrate an element of vulnerability, such as Priam and Tony Blair, may struggle asserting their authority over those with more traditional standards and views, such as the Trojan people and the Royal Family, and thus sacrifice an element of their public image and reputation.

Annotations (8) This is a brief quote – these are useful to ‘replace’ your own words. It ensures you are remaining relevant in your analysis (aka not going off track!!) and acts as a way to ‘show off’ to your assessors that you know your text. However, as these quotes are so simple, I would rarely go into depth with my analysis of them – save this for your longer quotations.

(9) Although naming the scene as a ‘montage’ isn’t entirely necessary in this case, it shows the assessor that you remember where this scene takes place and gives a bit of context , further achieving that first criterion.

Yet, both David Malouf and Stephen Frears examine the notion that in revealing an element of their private life and making themselves vulnerable, a leader may be able to become more relevant, thereby easing the tension between their public and private personas (10). In The Queen , Queen Elizabeth’s adamant refusal to 'dance to their tune' and abide by the requests of her people leads her to proclaim 'I don’t think I have ever been hated like that', with Frears’ depiction of her crying outside Balmoral evident of her realisation that she needs to adapt to the 'change…shift in values' occurring among her constituents. This private expression of vulnerability by Elizabeth is the catalyst for her change in leadership style, with the setting of Balmoral itself, and subsequent events that take place there, symbolising the ability for leaders to harness an element of their personal lives and use it to adapt and connect with their people. In a similar manner, Priam’s declaration that coming to Achilles 'as a man of sorrow' gives him the 'chance to break free of the obligation of always being the hero' highlights Malouf’s view that, at times, leaders must 'break free' of the overwhelming 'obligation[s]' of their public life in order to achieve their objectives and desires within the private sphere. Priam’s realisation that the 'gods made me…mortal' (11) and subsequent appearance as 'a man of sorrow' allow him to successfully bury the body of his son, as he places his identity as 'a man' at the forefront. Priam’s ability to use his emotion in order to fulfil the desires of both him, as 'a father', and the wider people of Troy in allowing their most esteemed warrior to receive a proper burial, is mirrored in The Queen , where Queen Elizabeth adopts the use of emotion to regain the respect of British society. In returning from Balmoral, the queen directly interacts with the people outside Buckingham Palace, with Frears using a long shot to capture the extremely large numbers that had gathered outside the palace gates to emphasise the scale of public sorrow occurring. The queen’s interaction with her people, combined with her public address 'as a grandmother' (12) , symbolises the way in which she was able to harness her identity both 'as your queen, and as a grandmother' to appeal to her people, gain their respect, and successfully lead them through an unprecedented, tumultuous event, thus easing the strain between her public and private personas. Likewise, Priam’s claim 'that the gods made me a king, but also made me a man' (13) highlights that he too has developed an understanding that in order to lead most successfully, one must express an element of vulnerability and humility, allowing for the people to emotionally connect and relate to those whom they admire. Therefore, both Malouf and Frears highlight that expressing elements of their private lives through their public identities is a method most effective in gaining leaders the respect and admiration they crave, as those they lead are able to find an element of commonality and relatability within such esteemed individuals.

Annotations (10) Here is where I begin to go beyond simply the limitations or ‘obvious’ points made in the prompt and consider its wider implications. One strategy I used to help plan and write these paragraphs in Year 12 was to ask myself ‘Why is this a topic? What is the author/director trying to tell me as a member of the audience?’ It usually helps to closely consider the author’s purpose , thus ensuring you achieve a coherent and comprehensive analysis.

(11) Here, I am using part of the quote in the prompt to serve as evidence and back up my point regarding Priam’s combination of both his public and private identities. See How To Embed Quotes in Your Essay Like a Boss to learn how to seamlessly include quotes in your writing. 

(12) It is here where I have used the quote from the prompt to influence my reasoning and my overall argument.

(13) Now I am moving on to explain the significance of the quote in the prompt.

Ultimately, both The Queen and Ransom explore the various tensions that can occur throughout the public and private lives of leaders, and their need to grapple with and understand such a concept in order to perform their duties most effectively. Whilst being constrained by one’s public persona may create emotional distance between an individual and those around them, in revealing an element of vulnerability, both texts illustrate that leaders risk losing respect and authority within public society. However, Frears and Malouf suggest that despite the difficult balance between one’s public and private lives, in order to lead most effectively, esteemed individuals should not allow each respective realm to create tension and unease, but rather harness elements of both their intimate and public personas in order to create a modern, effective and relatable leadership style (14) .

Annotations (14) My final sentence aims to focus on the ‘bigger picture’. Think of this as your ‘mic drop moment’ – you want to finish your essay with an overall statement that touches upon the author’s expressed or implied point of view. 5 Tips for a Mic-Drop Worth Essay Conclusion will help you nail your conclusion.

Throughout this essay, I have implemented the CONVERGENT and DIVERGENT strategy to help me discuss insightful points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, check out How To Write A Killer Comparative .

If you found this helpful and you’d like to dive deeper into this text pairing, see A Killer Comparative Guide: Ransom & The Queen. In this guide you'll learn unique points of comparison, we'll teach you how to think like a 45+ study scorer through advanced discussion on topics like literary and cinematic techniques, and we give you 5 A+ sample essay fully annotated!

Photograph 51 & The Penelopiad are studied as part of VCE English's Comparative. For one of our most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative .

We've explored themes, characters and literary devices amongst other things over on our Comparing The Penelopiad and Photograph 51 blog post. If you need a quick refresher or you’re new to studying this text pair, I highly recommend checking it out!

Here, we’ll be breaking down a Photograph 51 and The Penelopiad comparative essay topic using LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. If you’re unfamiliar with this strategy, you can learn about it in our How To Write A Killer Text Response study guide.

Without further ado, let’s get into it!

The Prompt:

‘You heard what you wanted to hear.’ ( Photograph 51 ) 

‘Now that all the others have run out of air, it’s my turn to do a little story-making.’ ( The Penelopiad ) 

Compare the ways in which both texts suggest there is power in storytelling. 

Step 1: Analyse

The first step is to deduce what type(s) the essay question is (for a refresher on the 5 types of essay prompts, check out this blog ). I usually find that a process of elimination is the easiest way to determine this. The prompt doesn’t explicitly include the keyword ‘How’, so it isn’t how-based. There are also no characters mentioned in the prompt, so we can rule out character-based. There’s no metalanguage included, so it isn’t metalanguage-based either. However, the prompt does mention the themes of ‘power’ and ‘storytelling’, so yes, it is theme-based. There are also two quotes (one from each text) included as part of the prompt, so it’s also quote-based.

Now that we’ve determined what types of essay prompt are relevant here, the next step is to identify its keywords: ‘the ways’ , ‘both texts ’, ‘power ’ and ‘storytelling’ . 

The inclusion of ‘the ways’ tells us that we must consider different examples from ‘both texts’ where Ziegler and Atwood show us there is ‘power in storytelling’ . The thematic words ‘power ’ and ‘storytelling’ are especially important in your selection of evidence and also your three distinct paragraph ideas, as singling out the thematic keywords will make sure you do not go off-topic. 

Let’s look at the common themes of ‘power’ and ‘storytelling’ that are central to the essay topic, and more specifically, how there is power WITHIN storytelling. In the case of Photograph 51 and The Penelopiad , a common representation of storytelling that is present in both texts is that truthful storytelling is subjective. This means that both Atwood and Ziegler posit that those in power throughout history have been afforded the ability to shape the historical narrative to best fit their interests. Both texts are also set within patriarchal societies - 1950s Britain and Ancient Greece. Therefore, our overall contention in response to this topic can be: 

Both texts suggest that the ability to control the subjective nature of storytelling is a power that has predominantly been afforded to men throughout history .

This opening line addresses ‘power in storytelling’ in a specific way that brings in the contexts of both texts. Each of your paragraphs should fall somewhere under this umbrella of thought - exploring the dynamics of the patriarchal systems within both texts in relation to storytelling. Who tells the story? How does it benefit them? Why not others? 

It is now time to develop the three main ideas that will form your essay structure. It is important to remember that each paragraph should include a discussion of converging and diverging ideas. Try to only use one or two examples from each text in a paragraph, as this way, you will have more time and space in your paragraphs to analyse your literary techniques and quotes. As the old saying goes, show don’t tell! 

P1: Both texts give women a voice through the retelling of their stories from a different perspective. 

Convergent Ideas: 

• Photograph 51 serves as a correction to the history of the discovery of the helix structure. 
• The Penelopiad inserts the female perspective into the famous myth of The Odyssey , giving reasoning and depth to the female voice.

Divergent Ideas: 

• Rosalind’s story is primarily told by the male scientists as the play retells the events, injected with commentary from the male scientists.
• The Penelopiad is a first-person recount from Penelope herself, therefore she is given more agency and control of the narrative.

P2: However, women still lack authority in the shaping of their own narratives as their subjective truth and perspective is often undermined.

Convergent Ideas:

• Predominantly, the narration is told from the male perspective as male scientists narrate Rosalind’s life. Her story is still subject to male opinion.
• The Maids interrupt Penelope’s first-person narrative through the 10 interludes from the maids’ perspective. In doing so, they cast doubt on Penelope’s retelling of the narrative and offer a more truthful perspective.
• Rosalind’s story is often interrupted by other male scientists, therefore more directly illustrating that men have more control over the subjective truth. Despite Rosalind’s story being central to the novel, Ziegler still demonstrates the difficulty women face in being believed and accredited for their contribution to history.
• Penelope’s story is not interrupted by men like Rosalind’s is. Therefore, there is a lack of male dominance in this aspect of the tale. However, the theme of patriarchal dominance is instead illustrated through the lack of authority that the maids have. Despite their account of the events in the tale being the most accurate, their low social status limits the power of their voice in a patriarchal society.

P3: In patriarchal societies, the men ultimately control their own narrative and how they are remembered, amplifying their own greatness by omitting the potential blemishes on their character.

• The male scientists deflect the blame for discrediting Rosalind by instead blaming her cold personality instead of their own deception and inability to cooperate with a woman.
• The execution of the maids is dismissed in the trial of Odysseus as Odysseus’ actions are justified in the patriarchal society of Ancient Greece.

Divergent Ideas:

• The male scientists’ reputations remain untarnished at the conclusion of the narrative, aside from personal guilt and shame. They achieved the scientific success they set out to achieve and were remembered as heroes.
• Unlike the untarnished reputation of the male scientists, the maids curse Odysseus at the conclusion of the narrative.

The ability to control the subjective nature of storytelling is a power that has predominantly been afforded to men throughout the retelling of history (1) . This is a result of the dominance of patriarchal systems, which inherently give men more agency in society to dictate the narrative for the next generations to remember (2) . Both Atwood’s The Penelopiad and Ziegler’s Photograph 51 criticise this power imbalance in historical storytelling and deliver the female perspective in two different eras of history. Each text recognises that the lack of voice women are granted in society undermines and suppresses their contribution to history (3) . Ultimately, both authors question the objectivity of the legacies that men have left behind, casting doubt on the narratives that they have shaped by introducing the underrepresented female perspective (4).

Annotations (1) A ‘universal truth’ or broad thematic statement is a great way to start an essay. This is your overall contention that does not mention the specifics of the texts - it purely deals with the themes of the topic. 

(2) As seen here, your second sentence can be used to back up the universal truth in a way that is more specific to the texts and the ideas you’re going to discuss. In my second sentence, I’ve included more information about the societal power structures that are present within the texts and how men have more power to dictate historical narratives. 

(3) Then, you signpost the three ideas that you’re going to discuss within your essay in a clear, precise and summarised way. Here is where you can mention textual details such as the titles, authors, forms and setting (i.e. 1950s Britain and Ancient Greece).

(4) I have finished off my introduction with an ‘Ultimately’ sentence that discusses the authorial intent of both authors. This offers a broader in-depth look at the topic as a whole, as it acknowledges the author’s intentional decisions about the text. 

By writing narratives that focus on the female perspective in history, both texts afford the female protagonists power through the representation of their voice. Atwood and Ziegler address the imbalance of female input in history and aim to rectify that through representing the contributions women made in both narratives. Photograph 51 , through the form of a play that retrospectively reenacts the events leading up to the discovery of the helix structure, cements Rosalind Franklin as the true genius behind the 'secret of life'. This honour has been credited to Watson and Crick solely throughout history, with them being given recognition of the 'Nobel' and having their names 'in textbooks'. Ziegler firmly details how the key to their success is the 'photograph she took of B', which Watson exploits to eventually win the race to construct the model. Similarly, The Penelopiad is also a societal correction to the lack of female representation in the narratives presented (4) . Written as a first-person narration, Penelope’s aim as a narrator is to be given the opportunity 'to do a little story-making' in this retrospective novel, inserting her perspective into the well-known myth of Odysseus and The Odyssey (5) . The characterisation of Penelope is subverted in Penelope’s retelling, as the generalisation of her character being only recognised for her 'smart[s]', '[her] weaving', and '[her] devotion to [her] husband' is challenged. Atwood contends that Penelope is also determined, self-sufficient and tactile through the narrative voice she grants Penelope as the main protagonist of the text. Rosalind in Photograph 51 is not the narrator of her story, which limits her agency in the telling of her truth in comparison to Penelope, who is able to shape her story the way she wishes (6). Underpinning both of these texts is Atwood and Ziegler’s authorial intention to contend that there is an underrepresentation of female contribution to history, and therefore utilise their texts to give power to female characters in patriarchal systems (7) .

Annotations (4) The transitional sentence between texts can be less jarring and clunky if you introduce your example from Text B in a similar vein to the discussion of Text A. As seen here, I have used my discussion of how Ziegler represents Rosalind in a manner that is seen as a historical correction to then transition into how Penelope also serves the same purpose.

(5) The explicit stating of the first-person narration style in The Penelopiad directly addresses the keywords of 'the ways' from the essay question. By incorporating different textual examples like narration and characterisation (as seen in the following sentence), I’m able to analyse multiple ways that the authors suggest there is power in storytelling.

(6) It makes it easier to discuss your divergent idea if it is directly linked to the converging ideas you’ve already mentioned, just as I have here in pointing out the difference in protagonists and narration. This means you don’t have to waste time re-explaining things from the texts!

(7) I conclude with a more broad statement that references the authors’ intentions in order to finish with a more in-depth exploration, just like the end of the introduction.

Women still lack authority in the shaping of their own narratives as their version of the truth is often undermined. Despite the main motivator for the texts being to empower the women by giving them a voice, both texts also recognise the limitations of a patriarchal society by illustrating the challenges the protagonists face in having their voices heard. By viewing the past through a retrospective lens in The Penelopiad , Penelope is finally able to deliver her perspective, encapsulated in the opening line of 'now that I’m dead I know everything'. (8) The notion that Penelope had to be dead and free of the restraints placed on her voice whilst she was alive in patriarchal Ancient Greece demonstrates the complete lack of authority the voices of women have in establishing themselves in history. This is echoed in the same retrospective retelling of Rosalind’s story in Photograph 51 , as the play begins with Rosalind stating that 'this is what it was like', establishing that the events that follow this initial line are a snapshot into the limitations she had to face as a woman in the male-dominated scientific field. It also references that the interjections of the male scientists as they commentate on her life were 'what it was like', as male opinion majorly shaped the suppression of Rosalind’s success throughout the play. On the contrary, (9) Penelope’s recount of the story is less interrupted by interjections of other characters, specifically those from men. However, the maids deliver ten interludes throughout The Penelopiad . These interludes are another example of female voice being represented in the text, but often being dismissed due to their crudeness or sarcastic nature in their casting of doubt over both Penelope and Odysseus, as they taunt Penelope’s decision to 'blame it on the [...] poxy little sluts!' and blemish Odysseus’ name by characterising him as the 'artfullest dodger' or 'blithe lodger', in reference to his infidelity. Despite the maids being the most authoritative in terms of true Greek theatre, (10) as they deliver the truest and most objective judgement of events, they are 'forgotten' and are not served true justice as a result of their low social status and gender that limits their voice in a patriarchal society. The female perspectives in the texts are truer representations of history in both contexts, yet because of limitations regarding their gender in the two patriarchal systems, they are overshadowed by the male recounts of history.

Annotations (8) To strengthen your essay, it is important to also use evidence that is not strictly dialogue or themes from inside the text. In this line, I use a literary device - retrospective storytelling - to back up the analysis I am talking about.

(9) Starting your discussion of the divergent ideas is easy with the use of phrases such as ‘on the contrary’, ‘unlike this…’ and ‘however’. You don’t want to spend unnecessary time on filler sentences. Be efficient!

(10) By further strengthening my analysis with a range of examples (e.g. mentioning the historical importance of genre, such as Greek theatre in this instance), I’m able to demonstrate a deeper knowledge of not only the texts and their context . 

In patriarchal societies, the men ultimately have more control over their own narratives and shape them for their own personal glorification of character. The omission of immorality and emphasis on male achievement by the men narrating the story is a clear indication that despite the selfish choices they make, men are still able to shape their legacies in their favour. Watson and Crick in Photograph 51 are depicted as 'arrogant' and duplicitous as they extort their 'old friend[ship]' with Wilkins for personal gain, pressuring him into 'talking about his work' to further progress towards notoriety. The conclusion of the play, with Watson and Crick accepting the honour of the Nobel Prize and claiming it as the 'finest moment' of their lives, illustrates that the motivation of personal success justifies the immoral actions of men as they are remembered fondly as scientific heroes without the blemishes of their characters. Similarly in The Penelopiad , Odysseus is revered as a hero through the intertextual reference of The Odyssey, a myth detailing the legend of Odysseus and his 'cleverness'. Penelope’s recounting of the 'myth of Penelope and Odysseus' sheds light on her ingenuity in the tales of Odysseus, showing that she 'set the whole thing up on purpose', referring to the deceiving plan that Odysseus had been awarded all the credit for in the original retelling of their story. Additionally, in the 'trial of Odysseus', Odysseus’ character is evaluated in the setting of a court, as the maids have demanded justice for Odysseus’ unjust execution of them. However, the judge overturns this decision as it would serve as a 'blot on an otherwise exceedingly distinguished career', encapsulating the idea that men in a patriarchal society will omit personal errors in favour of presenting themselves and other men as heroes of their narratives. However, unlike the untarnished male success of Photograph 51 , the maids curse Odysseus so he would 'never be at rest' in the conclusion of the narrative, as Atwood makes the final statement that men throughout history should be held accountable for the immoral actions they make (11) .

‍ Annotations (11) By concluding with a specific reference to the authorial intent of this specific idea explored throughout the paragraph, you ‘zoom’ back out and show your reader the bigger picture. 

At the end of each text it is evident that, regardless of the representation and voice that is given to the female characters, the deeply entrenched patriarchal systems in both timelines negate this power in favour of the male voice (12) . Ziegler’s play asserts that Rosalind’s 'groundbreaking work' should 'cement her place in history', and aims to give her recognition from a relatively more progressive, feminist society. Atwood’s conclusion also is representative of giving women more recognition for their achievements, like giving credit for Penelope’s 'intelligence' as an esteemed character trait in contemporary society. Both characters cast doubt over the previously revered male heroes in both texts, and further criticise the lack of female representation in those heroic stories. In conveying both Penelope and Rosalind’s stories, the authors call for a further critique of past and future accounts of human achievement. 

‍ Annotations (12) In this conclusion, I have chosen to focus on comparing the authorial intentions of Atwood and Ziegler in relation to the topic. In doing so, it can summarise my contention that I introduced earlier in the essay. By starting my conclusion with an overall statement regarding the ending of the two texts, I draw on the readers’ preexisting ideas of how they felt at the end of each narrative.

If you’re studying Photograph 51 and My Brilliant Career, check out our Killer Comparative Guide to learn everything you need to know to ace this assessment.

To stand out, it’s important to have a voice. In writing, it’s the expression of your thoughts, beliefs and emotions on the page that gives the reader insight into your own personal opinions and ideas on a topic. Your writer’s voice is unique to you and therefore presents your work as original amongst the multitude of essays examiners receive. In order to find your unique voice, it’s important to pinpoint the ideas that interest you that would allow you to write in the most authentic manner. Your distinctive style of writing and the concepts you present will allow you to stand out amongst your peers and thus, will ensure you reach your optimum standard of work.

Read and Explore

In order to expand your knowledge of a certain text, explore articles and videos that present alternate views. This allows you to not only expand the depth of your ideas but additionally, the opportunity to find opinions that you relate to or those that interest you. The more you explore the ideas that exist, the more you will obtain an inclination about what concepts you’d be willing to write about.

Understand the Characters in Text Response

Although it may be difficult to decipher the motives behind characters or the emotions they are feeling at a certain point in the text, insight into the minds of characters provides you with the opportunity to move beyond a black or white perception of them. Hence, you’ll be more inclined to pinpoint certain aspects of the character that you identify with and in turn, feel more confident in writing and presenting a unique perspective on them that distances you from the expected responses.

Themes of a Text

Within a text, there are an abundance of themes and it’s up to you to choose which interest you and which you’d be able to write the most about in order to showcase the depth of your understanding. You may relate to subjects within a text such as grief or betrayal and therefore, when you explore the text focusing on these themes, your writing will reflect your beliefs in an individual way that separates your ideas from your cohorts.

Language Analysis

Whilst language analysis relies on presenting an objective essay on the intention of the author, your voice will be shown more clearly by your chosen techniques and analysis. By pinpointing words or phrases within an article that you feel stand out or interest you within the context of the piece, you’ll be more likely to write an in-depth analysis on how the author has used the words or phrases to encourage consideration or prompt guilt as examples rather than provide a short summary of what they have said.

Amongst the thousands of students completing VCE English, it’s important to set yourself apart and demonstrate that you’ve got creative and original ideas that bring a new perspective to the text whilst allowing you to enjoy and find interest in Year 12 English.

For an overview of the EAL study design plus tips and tricks for reading comprehension, time management and more, check out The Ultimate Guide to EAL .

The listening section of the curriculum was introduced by VCAA in 2017 and I highly recommend having a look at the examination reports from 2017 onwards as they provide valuable insight into what the examiners are looking for in high-scoring responses. In this blog, I will explain three key tips that helped me receive a perfect study score in EAL so that you can better prepare for EAL listening. 

Tip #1: Pay Attention to the Choice of Delivery 

Delivery of speech can be described from 5 aspects:

Pitch refers to the highness or lowness of a sound. High-pitch can be used to heighten the emotion; conversely, a low-pitched voice is often softer and quieter or used to make an important point.

Pace is the speed at which the speech is delivered. Pace can be described as ‘fast’ or ‘slow’.

• Presence of pauses, repetition, hesitation

These are often used in conjunction with pace and pitch of voice to illustrate the speaker’s feelings, attitude or views towards a certain issue.

• Emphasis/stress on certain words

The emphasis a speaker places on specific words or phrases serves to draw the listener’s attention to the most important information.

• Tone of voice

When I first started learning how to nail the listening component, I made an extensive list of descriptive words for tone of voice that can be incorporated into my answers when it comes to SACs and the exam:

It is, of course, awesome and somewhat satisfying to have a glorious list of A+ words under our belt, but they are of no use if we are not comfortable using them. By this, I mean we need to make sure we know the meaning of these fancy words and how to incorporate them into sentences. 

Although the full list is very useful, I found myself frequently tending to use a certain few as highlighted below. This helped me to memorise the words I found most versatile, rather than trying to memorise ones I was unlikely to use. You can select the words that work best for you individually - no right or wrong here!

Tip #2: How To Tackle the 3 Marks Question!

Usually, towards the end of a listening task, you will get a 3 marks question that asks for ‘choice of language and delivery’.

Note: For background information on this ‘Gidon’ question, see this blog . And, if you’re not sure why we have highlighted and underlined certain words, see here .

So how do we formulate a cohesive response for this question and ensure we can get 3/3? The train of thought for answering this question is similar to that of analysing how language is tailored to persuade the readers.

The following is an example of what your final answer might look like: 

Describe Gidon’s response to the change made to hospital fees. Support your answer with his word choice and delivery. 3 marks

Gidon is very happy and proud of the change in hospital fees. Gidon uses a cheerful and hopeful tone (1st mark) to deliver the message that the change brings him ‘a really good feeling’ and he feels ‘unbelievably proud’ that ‘small people can make great change’ (2nd mark). In addition, Gidon states this in a high pitch and at a fast pace, demonstrating that he is pleased and satisfied with the reduction in hospital parking fees (3rd mark).

For background information on this ‘Gidon’ question and its answer, see EAL Listening Practice .

Here is another sample answer question and answer (see this blog for background information):

What is Beverley Wang’s opinion on some apps showing many ‘likes’? Support your answer with an example of word choice and language. (3 marks)

Beverley Wang expresses her opinion that some apps can foster addictive behaviours and can be scary by using a frustrated and alarmed tone (1st mark). Additionally, by repeating the term ‘consuming’ four times in a row (2nd mark), delivered at a fast pace, Wang affirms the unethical and addictive nature of the apps (3rd mark).

Tip #3: Build Your Vocabulary to Describe the Interaction Between Speakers 

In EAL listening, you are often expected to describe the interaction between two or more speakers. This allows you to comment on how multiple speakers express their ideas. There will typically be a question that asks you to describe the interaction between the speakers, such as, ‘Suggest 2 words to describe the interaction between A and B’. The answer you need to provide will typically be a two-word answer. Here is a list of words that I frequently used to answer questions like this: 

Words to describe positive interactions include:

• Friendly, respectful
• Professional, formal, polite
• Relaxed, warm
• Amicable, sanguine

Words to describe negative interactions include:

• Embarrassed
• Teasing, childish
• Tense, unpleasant, disappointed
• Confrontational

Hint: You have probably noticed that a lot of the words used to describe the tone for language analysis overlap with the ones you employ to describe the interaction between speakers. This is a bonus since once you have learned these adjectives, you can use them for both sections of the exam. 

I hope you found these tips useful! For further tips and tricks on tackling the EAL Listening Exam, check out How To ACE the EAL Listening Exam .

Sunset Boulevard 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 .

Introduction

Sunset Boulevard is perhaps the most famous film about film . A darkly funny yet disturbing noir, it follows washed-up screenwriter Joe Gillis being pulled into the murky world of even-more-washed-up former silent film star Norma Desmond, disingenuously helping with her screenplay. Critical commentary on the film industry is obviously included here, but Billy Wilder’s 1950 film digs deeper to explore the blurred line between fantasy and reality, as well as power, authenticity and self-delusion. Crucially, these themes are often shown in the film’s construction , via the cinematic techniques implemented by Wilder in each scene. This blog will explore the most important examples of these cinematic techniques. Remember, VCE examiners are on the lookout for students who can offer a close reading of the text they are discussing, giving specific examples of how its creator has constructed it to support their arguments. Just look at the difference between an essay that says:

' Through the final shot of the film, Wilder shows Norma completely succumbing to her fantasy.’ 

Compared to one that argues:

‍ ‘Through his utilisation of an increasingly glossy and distorted filter in the ominous final shot, Wilder depicts Norma being completely overtaken by her romanticised fantasy of ‘Old Hollywood’.

So read below to learn how to use the most effective and crucial cinematic techniques within Sunset Boulevard.  ‍

Camera Techniques: Shot Types & Angles

Camera techniques are arguably the primary way that a director will intentionally direct the eye of the audience, directly framing how they view a film. The two most basic ways in which the camera is used for this are through the distance between the subject (what the scene is about) and the camera, or the ‘shot type’ and the ‘camera angle’ at which the subject is being filmed. Four key examples of these from Sunset Boulevard are explored below. 

Key Examples of Shot Types

Our first look at Norma Desmond is within the wide shot above, just as Joe Gillis has entered her dishevelled mansion early in the film. As a rule, the introductory shot of a character is always worth closely analysing, as the director typically establishes their characteristics and place within the film’s wider world. 

Shown above, this distant first look at Norma establishes her distance, both physical and mental, from the world around her. Removing herself from an industry that has long since moved on from her, she is severely out of touch with the reality of the world outside her home. Crucially, as this same shot is from Joe’s perspective, Wilder also foreshadows the more specific character ‘distance’ that will emerge between the two. Here, the audience sees the space Joe will similarly leave between himself and Norma, disingenuously humouring her poor-quality scripts and romantic advances and, therefore, always keeping her ‘at a distance’.

Another shot conveying crucial information about character relationships is shown when Joe officially ‘loses’ Betty towards the end of the film, refusing to give up his ‘long-term contract’ with Norma. Here, Wilder consciously frames the scene’s subject (Betty) at a distance with a medium shot. Supported by her refusal to make eye contact with Joe and her literal statement that she ‘can't look at [him]’ we again see physical distance between the camera and the subject translating to emotional distance between two characters. The impact of them no longer ‘seeing eye to eye’ is additionally heightened by the clear chemistry they previously demonstrated across the film. 

Key Examples of Camera Angles

Just like the introductory shot of a character is worth digging into, the opening shot of a film is also incredibly important to unpack. Sunset Boulevard’ s seemingly straightforward opening shot simply includes the film’s title, by showing the real-life Hollywood street. However, notice that we are not seeing a ‘Sunset Boulevard’ street sign (the more obvious choice), but instead a dirty and stained curbside. Further, Wilder shoots this curb from a high angle . Therefore, the film’s opening shot establishes maybe the most central aim of Wilder’s film; offering a critical look at the superficiality and flawed nature of Hollywood. As such, we are literally looking down on the film industry in the first moment of the film, represented by this dirty and unflattering visual symbol of Hollywood. This, therefore, is setting the stage for the satire and critical commentary that will follow. 

Wilder’s careful use of camera angles is further shown at the end of the film after Betty abandons Joe at the gate of Norma’s mansion. Crucially, this all happened due to the desperate exertion of power by Norma, who called Betty and revealed the details of her relationship with Joe. As such, Wilder shoots Norma at a low angle, as Joe looks up at her haughty gaze. The level of power that Norma has exerted over Joe may seem minimal within the moment, but when we consider what happens next, this shot becomes much more important. On the brink of descending completely into madness and taking Joe’s life, Wilder uses this shot to establish that Joe should be looking up in fear at Norma, and his dismissive and pitiful opinion of her will soon lead to his death.  

Mise-en-scène

Mise-en-scène is perhaps the most deceptively simple cinematic technique. It involves analysing what appears within a frame and where it has been placed by the director. This includes elements such as the actor’s costumes, the props and the design of the set. Often, mise-en-scène is used to reinforce something we are being told about a character already through the film’s dialogue and acting.  

Key Example of Mise-en-scène 1

We can see a key example of characterisation through mise-en-scène early in the film, where the audience’s introduction to Joe Gillis visually communicates his unconcerned and detached attitude, as well as his tendency to settle for something convenient despite its inauthenticity. His being dressed in a bathrobe with the blazing sun outside (and his debt collectors clearly up and doing their jobs) speaks to his slovenliness and uninvested approach to life. The set design within this scene further characterises Joe, with the script directly describing the ‘reproductions of characterless paintings’ that cover his walls. Here, the set arguably provides a visual metaphor for the profit-driven ‘Bases Loaded’ script he is writing at that very moment, later described by Betty as having come ‘from hunger.’ 

Key Example of Mise-en-scène 2

Equally, our introduction to the home of Norma Desmond helps establish the key elements of her character. The house is, as Joe describes, ‘crowded with Norma Desmonds’, in the form of countless framed photos of her from her silent film era. These self-portraits constantly looking out onto Norma symbolise the deluded fantasy world she has placed herself in. They both show how this world is based around her still being a youthful and famous actress, and that this delusion is maintained through Norma only communicating inwardly, refusing to face the reality of the outside world.

As ‘symbolises’ is a verb that is very commonly misused, it’s necessary here to provide a very simplified definition:

A symbol is something that contains levels of meaning not present at first glance or literal translation.  

In film, the most obvious symbols are often physical objects that reappear within the story, working to symbolise concepts that develop the text’s key themes. 

The Dead Chimp & The Organ

One of the more seemingly inexplicable parts of Wilder's film actually contains one of its most important symbols, with Norma’s pet monkey playing a key foreshadowing role from beyond the grave. The chimp, a pet owned and trained by Norma to amuse her, leaves a vacant role that Joe will gradually fill after having unknowingly interrupted its funeral. From this point in the film, Joe is manipulated, or ‘trained’, by Norma to entertain and provide companionship to her. Naturally, Joe also ends up dead within the bounds of Norma’s estate, with this symbol, therefore, foreshadowing the full trajectory of his character. All of this is directly alluded to through Joe’s description of the ‘mixed-up dream’ he has the night of the funeral, imagining ‘an organ [player]’ and the ‘chimp…dancing for pennies’ that he will soon become. 

This naturally brings us to the organ itself, which serves as a physical reminder of the unflattering parts of the new role Joe must play. Included after Joe wakes from his ‘mixed-up dream’, the shot above frames Max’s organ-playing hands as massive and overpowering, as the much-smaller Joe storms in demanding to know why his ‘clothes and things’ were moved to Norma’s house without his say-so. Crucially, Norma then reveals that she ordered this action and that Joe's apartment debts are ‘all taken care of’, hand-waving his attempt at grasping back some control and dignity by proposing it be ‘deduct[ed]...from [his] salary’. This scene reveals the symbolic role the organ plays within Sunset Boulevard, reminding Joe of the shameful and powerless role of the ‘pet monkey’ that he now fills, as well as what he will be ‘dancing’ for. 

Finally, we come to allusions, one of the techniques that Sunset Boulevard is most famous for. Allusions refer to anytime something from outside the world of the text is referenced, including other texts and real-world people, places, events, etc. Biblical and mythological allusions are commonly found in fiction, but references to something closer to our world can often bring a degree of realism to certain texts, working to strengthen their social commentary. 

Cinematic Allusions

Being a film about film, Sunset Boulevard naturally contains many allusions to other films. However, Wilder does not shy away from adding an extra level of realism to his references to the film industry. Central to this is the use of the real (and still functional) Paramount Pictures studio to which Joe attempts to sell his clichéd baseball script. Notably, this is the studio that actually released Sunset Boulevard , all of which adds a self-deprecating edge to the satire of the film industry these scenes contain. The scene where the cigar-chomping Paramount executive, Mr Sheldrake, cynically suggests that changing Joe’s film concept to a ‘girls' softball team’ might ‘put in a few numbers’, packs an extra punch due to the use of the real film studio, therefore, showing the effect of this allusion in strengthening the film’s satire. 

Allusions to specific films are additionally used for humorous purposes and character development. For instance, take Joe’s dry observation that the extravagance of the funeral for Norma’s pet means that he ‘must have been a very important chimp’, perhaps the ‘great-grandson of King Kong’. Here, Joe’s sardonic and witty character is revealed to the audience. Additionally, these kinds of references further place the film firmly in the world of real Hollywood , again working to strengthen the satire it offers of this industry. 

Literary Allusions

Similarly, allusions to the world of literature flesh out both the characters and the world of Sunset Boulevard . The most stand-out example of this is the allusion to Charles Dickens’ classic novel Great Expectations . Here, Joe muses that the ‘unhappy look’ of Norma’s house reminds him of ‘Miss Havisham’ from this text. This is a character, who, after being abandoned by her fiance, refuses to change her clothing and lives secluded in a ‘rotting wedding dress’. Havisham directly parallels Norma, being a tragic figure immovably stuck in the past, with Norma's excessive placement of young self-portraits being reminiscent of Havishman’s insistence on keeping her house’s clocks at the exact time she received her letter of marital rejection. Therefore, this comparison to the Dickens character, who engages in a more exaggerated version of Norma’s behaviour, seeks to highlight just how detached Norma is from reality through her attempts to live in the past, implying that what she is doing is just as deluded as refusing to remove a rotting wedding dress. Further, the eventual fate of Miss Havisham within Great Expectations, with her wedding dress catching fire and leaving her as an invalid, foreshadows Norma’s similar descent to invalidity through her madness. For more on Sunset Boulevard , check out our blog: How To Incorporate Sunset Boulevard's Cinematic Features Into Your VCE Essay

Written by Milo Burgner

This blog was updated on 23/10/2020.

2. Historical Context

3. Part 1: Plot

4. Part 1: Quotes and Analysis ‍

5. Themes, Motifs, and Key Ideas

6. Character Analysis

7. Structure

8. Sample Essay Topics

9. Essay Topic Breakdown

The Dressmaker 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 .

Set in Dungatar, a barren wasteland of traditionalism and superstition, isolated amidst the rapidly modernising post-World War II Australia, acclaimed author Rosalie Ham’s gothic novel, The Dressmaker , provides a fascinating window into 1950s Australia. I find it to be one of the most intriguing texts of our time - managing to weave together a historical narrative with humour, wit, and modern-day social concerns regarding patriarchy, class, and the effects of isolation.

The Dressmaker is one of those texts which reinforces why studying English can be so great when you give it a proper chance. This subject isn’t just about studying books and writing essays, it’s also about learning new insight you’ll carry with you throughout your life. Specifically, The Dressmaker offers real insight into some of the most pressing issues that have been around for centuries - how communities respond to crisis, why certain groups are marginalised, and how we should respond to tyranny and intolerance. Ham’s novel is layered with meaning, character development, and a moving plot which really helps us reflect on who we are as people. Not every book can do that - and, seemingly, on a surface level, you wouldn’t expect a novel about fashion and betrayal to do it either. But somehow, it just does, and it’s what makes The Dressmaker one of my favourite books of all time.

Historical Context

Before we move on to looking at The Dressmaker’s plot and delving deep into analysis, it’s really important to understand the main historical context which underpins the novel. By ‘historical context’, all we mean here is the factual background which tells us why Rosalie Ham wrote her novel, and why she chose the particular setting of Dungatar. After all, Dungatar is a fictionalised community, but its references to post-World War II Australia are very real. The main message I want you to take from this section is that understanding 1950s Australia is essential to understanding Dungatar.

Australian Geography and the Great Depression

Before we delve into talking about this historical theme, I’d like to first acknowledge that Australia was colonised against the wishes of its First Nations peoples, and also recognise that sovereignty was never ceded. This discussion broadly reflects the experiences of colonised Australia because that is the frame which Rosalie Ham provides. However, at Lisa’s Study Guides, we acknowledge the traditional owners of the land on which this study guide was written, edited, and published, and pay our respects to elders past, present, and emerging. 

Ham’s fictional setting of Dungatar is a perfect example, as it is placed in the Australian Outback. The ‘Outback’ doesn’t exactly have any borders, so which regions of Australia count as part of the 'outback' will be slightly different from person to person. A general rule to help us understand the Outback is that it is way out in the centre of the country, far away from urban Australia. Its main industry is pastoralism, which refers to the grazing of cattle, sheep, and other species such as goats. This is a tough lifestyle, and as such small towns and a lot of room for livestock is preferable. These communities are often isolated, and don’t really communicate with the outside world unless it’s about trading their livestock into the cities. Isolation tends to create its own culture, practices, and social standards. For Dungatar, we see massive economic divides and strict expectations around the role of men and women. For instance, the McSwineys live in absolute poverty, yet Councilman Evan and his family are relatively wealthy. Most of the women in the town either care for children or stay at home, reflecting the outdated idea that it is the role of the man to work, and the role of the woman to be a homemaker. As much as we can look at these ideas and realise how flawed they are, for Dungatar it is a way of life to which they’ve stuck for decades. Changing this way of life would be dangerous for them because it means they have to completely reconsider the way they live.

Part 1: Plot

• Myrtle Dunnage arrives in Dungatar after many years, seeking to care for her mother Molly Dunnage. 
• Myrtle, who now wishes to be known as Tilly, reconnects with Sergeant Farrat, Dungatar’s eccentric local policeman who is doing his evening lap in the town. He takes Tilly through the town and up ‘The Hill’, which is where Molly lives. 
• While Tilly is caring for Molly, mental and physical illness causes her to believe that Tilly is an outsider who wishes to poison her. Tilly perseveres in order to shower, feed, and clothe the woman, as well as clear out the house.
• The perspective changes to Sergeant Farrat, who is patrolling the town centre a day later. He sees a returned William Beaumont sitting in a car. Moving into Muriel and Alvin Pratt’s General Store, Farrat claims to be buying fabric for his house. Their daughter Gertrude, who is reading a fashion magazine, realises that the material he is buying fits with the latest skirt designs across Australia.
• After learning about Mr Almanac’s pharmacy, the footballers move into Purl and Fred Bundle’s pub. 
• The readers are introduced to the McSwiney family, who with Edward and Mae as the father and mother, have 11 children. They’re said to live in the tip at the edge of town. 
• The following weekend Tilly and Molly leave The Hill to attend the football match played in Dungatar between the two neighbouring towns, Itheca and Winyerp. Lois Pickett and Beula Harridene give her an immediately negative reaction, taking offence when Molly questions whether their cakes are poisoned.
• After getting medicine from Mr. Almanac and his assistant Nancy, Tilly and Molly run into Irma, his sickly wife. Her arthritis makes mobility difficult, and as such she is found sitting on the bank of the river, where she asks Tilly not to let the town know that she had been cooking meals for Molly in Tilly’s absence.
• Nancy and Sister Ruth Dimm are shown to be having a secret relationship in the back of the phone exchange building before the perspective moves back to Buela Harridene, who demands that Sergeant Farrat investigate the McSwiney children for supposedly pelting her roof with stones.
• Tilly sits on the riverbank, remembering her memories and trauma in Dungatar, with the crucial event being when Stewart Pettyman attempted to headbutt Tilly, but she moved out of the way, causing him to ram into a wall, snap his neck and die.
• Marigold and Evan Pettyman are introduced to the audience, with Marigold being a nervous individual who is put to sleep by Evan with pills every night and sexually assaulted.
• Following Dungatar’s victory in the grand finale, which sends frivolity and celebration throughout the town, a package arrives for Tilly. Ruth reads through all its contents after picking its lock whilst Tilly reluctantly meets with Teddy, who continues to visit her. 
• Tilly and Molly visit the Almanacs for dinner, wherein Tilly’s medicine causes Irma’s pain to disappear. Although Mr Almanac is unpleasant – stating that Tilly can never be forgiven for Pettyman’s death – the night moves on, Tilly returns home and is visited by Teddy yet again. 

Part 1: Quotes and Analysis ‍

“She used to have a lot of falls, which left her with a black eye or a cut lip.”

Here, Ham subtly hints that Irma Almanac’s injuries were not solely due to ‘falls’, as it is also said that once her husband grew old the ‘falls’ progressively ceased. Abuse of women is common in Dungatar, and it is almost expected that women will be subservient to men and do as they demand.

“His new unchecked gingham skirt hung starched and pressed on the wardrobe doorknob behind him.”

Sergeant Farrat subverts social expectations placed upon 1950s men by adoring feminine fashion. However, the fact that he is forced to hide his passion reveals how, in conservative towns such as Dungatar, individuals are forced to suppress their true selves in order to fit in with the broader population. There is no room for individuality or creative expression, as this is seen as a challenge to Dungatar’s social order and the clear separation between the roles of men and women.

“What’s the point of having a law enforcer if he enforces the law according to himself, not the legal law?”

Buela Harridene pretends to care about the enforcement of the law, but her true concern is bending the law to her own will to make those who step outside of their socially defined roles suffer. She is at odds with Sergeant Farrat as he seeks to control the townspeople’s worst instincts, yet people like Buela ensure that vengeance, rumour, and suspicion are still the defining features of Dungatar.

“Well let me tell you if he’s got any queer ideas we’ll all suffer.”

Although this specifically refers to William Beaumont, it alludes to the broader picture that the people of Dungatar believe that any outside ideas fundamentally threaten everything about the way they live. Even before Beaumont has opened his mouth, he is already a threat since he may have witnessed another way of living disconnected from Dungatar’s conservatism.

If you'd like to see the all Chapter plots, their analysis, along with important quotes, then have a look at our The Dressmaker Study Guide.

Themes, Motifs, and Key Ideas

Isolation and modernisation.

One of the central conflicts in The Dressmaker is between the isolated town of Dungatar, and the rapidly modernising surroundings of post-depression 1950s Australia, as we established in Historical Context . Ham uses this dichotomy (meaning when two opposing factors are placed right next to each other) to question whether isolated communities like Dungatar really have a role in the modern world . 

Our clearest indication that Dungatar is not only traditionalistic, but absolutely reviles change and outside influence , is right at the start of the novel, when a train conductor laments that there’s “naught that’s poetic about damn [progress].” Here, we see the overriding contention of Rosalie Ham’s novel - that because a community like Dungatar has been isolated for so long, it has become absolutely committed to maintaining its traditionalism at all costs. There are more symbolic reflections of how stagnant the town has become, such as the fact that Evan Pettyman, the town’s elected Councillor, has been in the role for multiple decades without fail - or that the same teacher who ostracised Tilly as a child, Prudence Dimm, is still in charge of the town’s school. 

Social Class

The Dressmaker speaks extensively about social class. By class, what I mean is the economic and social divisions which determine where people sit in society. For instance, we could say that the British Royals are ‘upper class’, whilst people living paycheque to paycheque and struggling to get by are ‘lower class’. 

It's also important to introduce the notion of a classist society. A classist society is one where all social relations are built on these aforementioned economic and social divides - in other words, everything you do in life, and everything you are able to do , is built on where you sit in the class structure. 

For The Dressmaker , the question then becomes - "how does class relate to Dungatar?" Well, Dungatar is one of the most classist societies around, where societal worth is explicitly based on one’s position in the class structure.

Femininity, Fashion, and Patriarchy

By now, you’ve probably realised that The Dressmaker ’s title is significant. Fashion and ‘dressmaking’ are absolutely essential to understanding the life of Tilly Dunnage, and how she interacts with the people of Dungatar . We’ll go into this further, but Ham specifically delves into the power of fashion as a form of expression which empowers people and their femininity , yet she also examines how, in a community like Dungatar, fashion nonetheless ends up being entirely destructive.  Dungatar and Femininity

The idea of femininity describes, on a basic level, the ability of a woman to express herself independent of any man. Others would describe femininity in more definitive terms, but it’s really in the eyes of the beholder. What’s explicitly clear, however, is  that, in order to suppress femininity, women in Dungatar are repressed and kept under the control of men. Marigold Pettyman is raped by her husband, Evan Pettyman every night, while the “ladies of Dungatar…turn their backs” when they see the Councillor coming - knowing his crimes, but being too afraid to challenge him. Above all else, Dungatar exists within a patriarchal framework, which is one where men hold structural power and authority, and that power relies on keeping women silent and subservient. In such a society, the role of women in Dungatar is vacuous (meaning that they don’t have any real purpose) - they frill about, spread rumours, and otherwise have no set roles other than to be obedient to their husband. 

Fashion as Empowerment

Within this context, Rosalie Ham explores the power of fashion to empower femininity, and, even if it’s in a limited sense, give the patriarchy its first real challenge. Gertrude is a perfect example, as Tilly’s dressmaking sees her eventually transform at her wedding, even though she is initially described as a “good mule” by Sergeant Farrat; symbolically being stripped of her humanity and beauty by being compared to an animal. However, Gertrude becomes the spectacle of the town at her wedding, wearing a “fine silk taffeta gown” and presenting an elegant, empowered image. The townspeople even note that Tilly is an “absolute wizard with fabric and scissors”, and, with the use of the word ‘wizard’, it becomes evident that the women of Dungatar are absolutely unaccustomed to having any form of expression or individuality - a patriarchal standard which Tilly challenges through her work. 

Think also about Sergeant Farrat. Even if he isn’t a woman, he nonetheless is able to embrace his feminine side through fashion. Indeed his “gingham skirt” and secretive love of female fashion is utilised by Ham to demonstrate that, even in a patriarchal settlement like Dungatar , fashion is immensely empowering and important.

Fashion and Destruction

However, as always, Ham elucidates that there too exists a dark side to fashion in a town like Dungatar. Ultimately, the women of Dungatar, in their elegant dresses, end up looking like a “group of European aristocrats’ wives who had somehow lost their way”. What this quote tells us is that, despite a temporary possibility for empowerment, the women of Dungatar did not fundamentally change their identities. As “aristocrats’ wives”, they are still tied to a patriarchal system in which, even if they were better dressed, nothing was ultimately done to overcome their tradition for rumour, suspicion, and ostracising outcasts. Indeed, this becomes most evident at the Social Ball, where, despite wearing Tilly’s dresses, her name is “scrubb[ed] out” from the seating list - symbolically expressing a desire for Tilly’s modernising, urban, outside influence to be removed from Dungatar, even as they simultaneously wear her dresses! 

Character Analysis

Tilly dunnage .

Tilly, or Myrtle Dunnage, is the protagonist of The Dressmaker , and an acclaimed dressmaker trained in Paris . Analysing Tilly requires an understanding that she believes she is cursed: starting with being exiled from Dungatar after the accidental death of Stewart Pettyman, and then finding her “seven month old” baby Pablo “in his cot...dead”, as well as witnessing the deaths of Teddy and Molly. In her own words, she is “falser than vows made in wine”, and does not personally believe she can be trusted. This pessimistic perspective on life inspires Tilly to adopt an incredibly individualistic understanding of the world; believing that the only way for her to survive is embracing her individual worth and rejecting toxic communities. Indeed, although Tilly initially arrived in Dungatar to care for her mother - a selfless act - the town spiralling into vengeance only confirmed Tilly’s pessimism. Her modern dressmaking ultimately could not change a fundamentally corrupt community predicated on “nothing ever really chang[ing]”, and therefore the maintenance of a culture of rumour and suspicion . Indeed, in “raz[ing Dungatar] to the ground”, Rosalie Ham reminds us that Tilly is an unapologetically individually-focused person, and will not tolerate anyone, or anything, which seeks to make her conform to the status quo and repress her individuality.

Molly Dunnage 

Molly Dunnage is Tilly’s mother, a bedridden, elderly woman whose sickness drives Tilly back into Dungatar. Molly is commonly known as ‘Mad Molly’ by the townspeople, but what this hides is the fact that Molly was not born mentally insane. Rather, after being “tormented” by Evan Pettyman into having his illegitimate child and seeing Tilly exiled from Dungatar, the malicious actions of the community drive her into insanity. Even in her incapacitated and crazed state, Molly holds such love for Tilly that she attempts to stop her engaging with the community, and thus the symbolism of Molly “dismant[ling] her sewing machine entirely” was that, due to her experiences, she did not believe that the people of Dungatar would ever accept Tilly, either as a dressmaker or a person . Molly’s death is ultimately a pivotal event, and awakens Tilly to the fact that only “revenge [could be] our cause”, and thus that Dungatar is fundamentally irredeemable.

Teddy McSwiney 

Teddy McSwiney is the eldest son of the McSwiney family, Dungatar’s poorest residents. Teddy is a unique case, as although he’s a McSwiney, he is noted for being incredibly well-liked in the town - even going so far as to be described by Purl as the town’s “priceless full forward” in Dungatar’s AFL team. Nonetheless, as we discussed under the Social Class theme, Dungatar remains an unashamedly classist society, and as such, despite Teddy being valued in his usefulness as a footy player and the “nice girls lov[ing] him”, he “was a McSwiney” - discounted from the town’s dating scene or any true level of social worth. Teddy becomes essential to the plot when he and Tilly spark a budding romance. Whereas the majority of Dungatar rejects Tilly or refuses to stand against the crowd, Teddy actively seeks to remind Tilly of her worth - saying that he “doesn’t believe in curses”. However, his death after suffocating in a “sorghum mill” reiterates a sad reality in Dungatar; it is always the most vulnerable townspeople who pay the price for classist discrimination, ostracisation, and suspicion.  

Sergeant Farrat 

Sergeant Farrat is one of The Dressmaker’s most interesting characters. On the surface, he’s nothing but a police officer who manages Dungatar. However, Farrat’s position is far more complex than meets the eye - as a police officer, he is entrusted with enforcing the “legal law”, yet must also contain the influence of malicious individuals such as Buela Harradine who would otherwise use the enforcement of that law to spread slander about individuals like the McSwineys, who she considers “bludgers” and “thieves”. Despite Dungatar’s complications, Farrat considers the townspeople “his flock”, and this religious, Christ-like imagery here tells us how he is essentially their protector. Farrat is, in essence, entrusted with preventing the townspeople from destroying themselves (by now, we all know how easily the townspeople slide into hatred and division!). Here’s the interesting thing though - at the same time Sergeant Farrat is protecting Dungatar, he is also personally repressed by its conservative standards. Rosalie Ham establishes Farrat as a man with a love for vibrant, expressive, female fashion, and from his “gingham skirts” which he sews in private to his time spent with Tilly while she sews, Ham demonstrates to us that Dungatar’s conservatism affects everyone. Even though he tries to defend Tilly as the townspeople descend on her after Teddy’s death, Tilly destroys his house along with Dungatar anyway - signalling that, no matter how hard Sergeant Farrat tried to reconcile his position as protector of Dungatar and his own person, the town could not be saved.

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

The Dressmaker is written in the Gothic style, which means it combines romance with death and horror, particularly horror of the emotional kind. The Dressmaker is divided into four sections, each named after a type of fabric Tilly uses in her work. You can use these in your essays to show how important dressmaking and fashion is to the plot’s progression, especially considering each section starts with fabric. The four types are:

A fabric made from cotton or yarn, with a checkered shape. Gingham is often used as a ‘test fabric’ in designing fashion or for making tablecloths. This gives it a rustic, imperfect feel signifying Tilly’s return to her hometown and complicated past. The name is thought to originate from a Malay word meaning ‘separate’, mirroring Tilly’s feelings of isolation from the rest of Dungatar. In this section of the novel, Sergeant Farrat also buys gingham fabric to secretly make into a skirt, symbolising how the town is still rife with secrets and a disparity between the public and private personas of its inhabitants. 

2. Shantung

A fabric used for bridal gowns. Gertrude is married in this section and her dress, which Tilly makes, is the first instance where the town witnesses her work. Shantung originates from China, matching this notion of exoticism and foreignness which seeing the dress spreads among the townspeople. 

A fabric noted for its ability to be used for a wide variety of purposes. This is the section in which the ball occurs and a variety of Tilly’s dresses are unveiled for the town to see. 

A richly decorative fabric made with threads of gold and silver. Brocade is used primarily for upholstery, drapery, and costumes. This is a reference to the costumes of Dungatar’s play, the climax of the novel which occurs in this section.

Sample Essay Topics

1. “They looked like a group of European aristocrats’ wives who had somehow lost their way.” Fashion is both liberating and oppressive. Discuss.

2. How does Rosalie Ham represent the power of love throughout The Dressmaker?

3. Gender repression is rife in The Dressmaker . To what extent do you agree?

4. “Damn progress, there’s naught that’s poetic about diesel or electric. Who needs speed?” What is Ham’s essential message about progress in The Dressmaker?

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

Essay Topic Breakdown

Theme-based prompt: rosalie ham’s the dressmaker condemns fundamentally oppressive communities. discuss..

We’ve got a theme-based prompt here, which really calls for your essay to be explicitly focused on the theme at hand. That means that we shouldn’t stray from the idea of ‘oppressive communities’. Keep it as the centre of your essay and look at how events relate to this idea - we’ll break it down more in Step 2 so you can properly explore it.

Because there’s a ‘Discuss’ qualifier added to the end of the prompt, a clear and concise contention is really important. What you’re being asked to do is, again, stick with the topic frame. That means that going for the usual “two agree, one disagree” structure is decent, but I wouldn’t suggest it as the most efficient way to go. Instead, what you’ll see that I do with this essay is ‘discuss’ how the topic is present throughout all three of our arguments.

Let’s start by breaking down the key words of the topic.

We have the idea of an ‘oppressive community’, which refers to communities that are built on marginalising certain individuals so the majority can maintain power . This is quite a clear reference to Dungatar, but expect that most essay questions for The Dressmaker won’t directly reference Tilly or the town, even if they’re quite clearly talking about them. Something for which you should look out – don’t let the wording phase you!

The addition of the word ‘fundamentally’ doesn’t change that much, but what it does tell us is that the essay is asking us to agree that Dungatar is oppressive to its core. In other words, its ‘fundamentals’ are based on oppression. I would not recommend trying to disagree with this basic premise, as it means you’re going against the topic in a ‘Discuss’ prompt which, as we discussed above, isn’t the best option in my view.

One of the most logical ways to approach this topic is a chronological structure. By that, what I mean is following the text in the order events occur; before Tilly’s arrival, during Tilly’s time in Dungatar, and the consequences that arise after they make her an outcast once again.

This way, you can stay on topic and look at how Dungatar is oppressive even before Tilly shows up again, how that ramps up as she establishes her dressmaking business, and what Ham’s final message is on rejecting oppressive communities and embracing individual worth.

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

Download a PDF version of this blog for printing or offline use

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

What Are the Five Steps?

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

STEP 1: Do a brain dump of your ideas!

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

STEP 2: Stay true to yourself

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

STEP 3: Start small - keep it simple

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

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

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

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

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

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

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

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

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

• Oxymoron (contradictory words or groups of words)

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

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

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

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

STEP 5: Read your writing out loud

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

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

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

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

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How to ace a writing assessment test

Reading time: Just over 3 minutes

Does the mere thought of a test make your stomach clench? Here are some basic writing assessment test tips…

I once failed a personality test.

OK, to be honest, it’s not technically possible to fail such a test because we all have personalities. But I didn’t do well on it and it really didn’t capture anything significant about my skills or character. When the consultant ( not a psychologist, incidentally) looked at my results and earnestly suggested I join a Toastmaster’s club, I knew he was way off base. The test hadn’t ascertained that I’d been a championship-level debater and had no fear or trouble with speaking in public.

That’s the problem with these tests. Depending on how they’re written and who conducts them, they often over-extrapolate and may come to particularly whacky conclusions. In my series of tests — which were designed to gauge suitability for future promotion — the person who earned the highest score was widely viewed by staff as difficult and untrustworthy. (Indeed he was. Fortunately, the company never did promote him, despite his stellar marks.)

A big part of succeeding at testing is knowing how to take it. Given that job testing seems to be growing , and that almost 90 percent of firms that do testing say they will not hire job seekers deficient in basic skills , here is some advice on how to ace a writing assessment test.

First, such tests are likely to examine spelling . I know, this says nothing about intelligence — instead, it relates strictly to visual memory. (It’s also not a particularly useful skill if you use Spellcheck and know your homonyms .)  I was born without many spelling skills, but I’m pretty good at it now because I’ve worked as a writer and editor for more than 35 years. I know that accommodate always has two Cs and two Ms and that gauge is spelled with the A first. For several years as a reporter I spelled definitely as “definately” until an editor told me I definitely had a problem with definitely , and his stern reminder has stuck.

If spelling doesn’t come naturally to you, get some help. To make the task more manageable and because tests typically don’t go much beyond the obvious, focus on the most commonly misspelled words. Here’s a good list of the top 100 . Learn them!

I reviewed this chart  and discovered an error that I’ve been making my entire life:  bellwether . I had always thought it was  bellweather , with an A. (This word is used during elections in parliamentary democracies, and “bellwether ridings” are close contests — that might easily go any way. In such a riding, however, the winner typically belongs to the party that wins the entire election.) Whenever I heard the term,  bellwether , I’d always pictured a buoy floating in the water, changing direction with the wind or tide. Thus, the connection to weather made sense to me. Turns out, however, that a  wether  is a gelded (castrated) ram that wears a bell and thus leads his flock. I’ll never forget this and never make that mistake ever again.

Grammar is another skill that writing tests are likely to examine. Again, don’t stress yourself out trying to become another William Strunk or E.B. White . Save time by focusing on the most common grammar errors. Here’s a good list ,  and another one . Between them they highlight 45 grammar errors. (Some of the items on the two lists are the same but many are different.)

The most common error I spot in business writing relates to the misuse of affect vs. effect . Grammar Girl   Mignon Fogarty suggests an interesting way of learning the difference. Memorize the following two sentences, she suggests: “The arrows affected Aardvark. The effect was eye-popping.”

Here’s her reasoning: Affect is almost always a verb and effect is always a noun. “It should be easy to remember that affect with an A goes with the A-words, arrow and aardvark ,” she says. “And effect with an E goes with the E-word, eye-popping .” If you can visualize the sentences, it’s easy to see that affect with an A is a verb and effect with an E is (usually) a noun.

Another aspect of writing that assessment tests are likely to measure relates to proofreading. How much skill do you have at that? Here’s a link to my own article on 10 ways to become a better proofreader .  The best tips for testing purposes are likely 6, 7 and 10. The last one — reading your work aloud — is the most important and useful. This is because we all read faster when we read silently. Making yourself read aloud forces you to work at a pace better suited to proofreading.

Ironically, many so-called writing tests may never ask you to write (because they will be time consuming to mark), but if they do, you might want to consult  this article . One tip the writer doesn’t mention but that I find particularly important to business writing relates to unclear use of the word its .

Its   is a pronoun,   and this means it must refer back to a noun. The trouble is, writers often use the word so far away from the original noun that the meaning isn’t clear. Avoid this problem by checking your document for every time you’ve used  its . If the meaning isn’t clear, repeat the noun instead.

And, while you’re examining your use of its , make sure you’ve used it correctly. It’s, with an apostrophe, MUST BE an abbreviation for “it is.” The possessive (e.g. The dog strained at its leash ) NEVER takes an apostrophe.

Even if you never  have to take an assessment test (lucky you!), you still need to ensure your boss is happy. Brushing up on your spelling, grammar and proofreading are good ways to do that.

This post first appeared on my blog on Oct. 6, 2015.

Have you ever had to take a writing assessment? We can all learn from each other so, please, share your thoughts with my readers and me in the “comments” section below. Anyone who comments on today’s post (or any others) by April 30/18 will be put in a draw for a copy of Crucial Accountability by Kerry Patterson et al. Please, scroll down to the comments, directly underneath the “related posts” links, below. Note that you don’t have to join the commenting software to post. See here  to learn how to post as a guest.

11+ creative writing guide with 50 example topics and prompts

by Hayley | Nov 17, 2022 | Exams , Writing | 0 comments

The 11+ exam is a school entrance exam taken in the academic year that a child in the UK turns eleven.

These exams are highly competitive, with multiple students battling for each school place awarded.

The 11 plus exam isn’t ‘one thing’, it varies in its structure and composition across the country. A creative writing task is included in nearly all of the 11 plus exams, and parents are often confused about what’s being tested.

Don’t be fooled into thinking that the plot of your child’s writing task is important. It is not.

The real aim of the 11+ creative writing task is to showcase your child’s writing skills and techniques.

And that’s why preparation is so important.

This guide begins by answering all the FAQs that parents have about the 11+ creative writing task.

At the end of the article I give my best tips & strategies for preparing your child for the 11+ creative writing task , along with 50 fiction and non-fiction creative writing prompts from past papers you can use to help your child prepare. You’ll also want to check out my 11+ reading list , because great readers turn into great writers.

Do all 11+ exams include a writing task?

Not every 11+ exam includes a short story component, but many do. Usually 3 to 5 different prompts are given for the child to choose between and they are not always ‘creative’ (fiction) pieces. One or more non-fiction options might be given for children who prefer writing non-fiction to fiction.

Timings and marking vary from test to test. For example, the Kent 11+ Test gives students 10 minutes for planning followed by 30 minutes for writing. The Medway 11+ Test gives 60 minutes for writing with ‘space allowed’ on the answer booklet for planning.

Tasks vary too. In the Kent Test a handful of stimuli are given, whereas 11+ students in Essex are asked to produce two individually set paragraphs. The Consortium of Selective Schools in Essex (CCSE) includes 2 creative writing paragraphs inside a 60-minute English exam.

Throughout the UK each 11+ exam has a different set of timings and papers based around the same themes. Before launching into any exam preparation it is essential to know the content and timing of your child’s particular writing task.

However varied and different these writing tasks might seem, there is one key element that binds them.

The mark scheme.

Although we can lean on previous examples to assess how likely a short story or a non-fiction tasks will be set, it would be naïve to rely completely on the content of past papers. Contemporary 11+ exams are designed to be ‘tutor-proof’ – meaning that the exam boards like to be unpredictable.

In my online writing club for kids , we teach a different task each week (following a spiral learning structure based on 10 set tasks). One task per week is perfected as the student moves through the programme of content, and one-to-one expert feedback ensures progression. This equips our writing club members to ‘write effectively for a range of purposes’ as stated in the English schools’ teacher assessment framework.

This approach ensures that students approaching a highly competitive entrance exam will be confident of the mark scheme (and able to meet its demands) for any task set.

Will my child have a choice of prompts to write from or do they have to respond to a single prompt, without a choice?

This varies. In the Kent Test there are usually 5 options given. The purpose is to gather a writing sample from each child in case of a headteacher appeal. A range of options should allow every child to showcase what they can do.

In Essex, two prescriptive paragraphs are set as part of an hour-long English paper that includes comprehension and vocabulary work. In Essex, there is no option to choose the subject matter.

The Medway Test just offers a single prompt for a whole hour of writing. Sometimes it is a creative piece. Recently it was a marketing leaflet.

The framework for teaching writing in English schools demands that in order to ‘exceed expectations’ or better, achieve ‘greater depth’, students need to be confident writing for a multitude of different purposes.

In what circumstances is a child’s creative writing task assessed?

In Essex (east of the UK) the two prescriptive writing tasks are found inside the English exam paper. They are integral to the exam and are assessed as part of this.

In Medway (east Kent in the South East) the writing task is marked and given a raw score. This is then adjusted for age and double counted. Thus, the paper is crucial to a pass.

In the west of the county of Kent there is a different system. The Kent Test has a writing task that is only marked in appeal cases. If a child dips below the passmark their school is allowed to put together a ‘headteacher’s appeal’. At this point – before the score is communicated to the parent (and probably under cover of darkness) the writing sample is pulled out of a drawer and assessed.

I’ve been running 11+ tutor clubs for years. Usually about 1% of my students passed at headteacher’s appeal.

Since starting the writing club, however, the number of students passing at appeal has gone up considerably. In recent years it’s been more like 5% of students passing on the strength of their writing sample.

What are the examiners looking for when they’re marking a student’s creative writing?

In England, the government has set out a framework for marking creative writing. There are specific ‘pupil can’ statements to assess whether a student is ‘working towards the expected standard,’ ‘working at the expected standard’ or ‘working at greater depth’.

Members of the headteacher panel assessing the writing task are given a considerable number of samples to assess at one time. These expert teachers have a clear understanding of the framework for marking, but will not be considering or discussing every detail of the writing sample as you might expect.

Schools are provided with a report after the samples have been assessed. This is very brief indeed. Often it will simply say ‘lack of precise vocabulary’ or ‘confused paragraphing.’

So there is no mark scheme as such. They won’t be totting up your child’s score to see if they have reached a given target. They are on the panel because of their experience, and they have a short time to make an instant judgement.

Does handwriting matter?

Handwriting is assessed in primary schools. Thus it is an element of the assessment framework the panel uses as a basis for their decision.

If the exam is very soon, then don’t worry if your child is not producing immaculate, cursive handwriting. The focus should simply be on making it well-formed and legible. Every element of the assessment framework does not need to be met and legible writing will allow the panel to read the content with ease.

Improve presentation quickly by offering a smooth rollerball pen instead of a pencil. Focus on fixing individual letters and praising your child for any hint of effort. The two samples below are from the same boy a few months apart. Small changes have transformed the look and feel:

Sample 1: First piece of work when joining the writing club

Sample 2: This is the same boy’s improved presentation and content

How long should the short story be.

First, it is not a short story as such—it is a writing sample. Your child needs to showcase their skills but there are no extra marks for finishing (or marks deducted for a half-finished piece).

For a half hour task, you should prepare your child to produce up to 4 paragraphs of beautifully crafted work. Correct spelling and proper English grammar is just the beginning. Each paragraph should have a different purpose to showcase the breadth and depth of their ability. A longer – 60 minute – task might have 5 paragraphs but rushing is to be discouraged. Considered and interesting paragraphs are so valuable, a shorter piece would be scored more highly than a rushed and dull longer piece.

I speak from experience. A while ago now I was a marker for Key Stage 2 English SATs Papers (taken in Year 6 at 11 years old). Hundreds of scripts were deposited on my doorstep each morning by DHL. There was so much work for me to get through that I came to dread long, rambling creative pieces. Some children can write pages and pages of repetitive nothingness. Ever since then, I have looked for crafted quality and am wary of children judging their own success by the number of lines competed.

Take a look at the piece of writing below. It’s an excellent example of a well-crafted piece.

Each paragraph is short, but the writer is skilful.

He used rich and precisely chosen vocabulary, he’s broken the text into natural paragraphs, and in the second paragraph he is beginning to vary his sentence openings. There is a sense of control to the sentences – the sentence structure varies with shorter and longer examples to manage tension. It is exciting to read, with a clear awareness of his audience. Punctuation is accurate and appropriate.

11+ creative writing example story

How important is it to revise for a creative writing task.

It is important.

Every student should go into their 11+ writing task with a clear paragraph plan secured. As each paragraph has a separate purpose – to showcase a specific skill – the plan should reflect this. Built into the plan is a means of flexing it, to alter the order of the paragraphs if the task demands it. There’s no point having a Beginning – Middle – End approach, as there’s nothing useful there to guide the student to the mark scheme.

Beyond this, my own students have created 3 – 5 stories that fit the same tight plan. However, the setting, mood and action are all completely different. This way a bank of rich vocabulary has already been explored and a technique or two of their own that fits the piece beautifully. These can be drawn upon on the day to boost confidence and give a greater sense of depth and consideration to their timed sample.

Preparation, rather than revision in its classic form, is the best approach. Over time, even weeks or months before the exam itself, contrasting stories are written, improved upon, typed up and then tweaked further as better ideas come to mind. Each of these meets the demands of the mark scheme (paragraphing, varied sentence openings, rich vocabulary choices, considered imagery, punctuation to enhance meaning, development of mood etc).

To ensure your child can write confidently at and above the level expected of them, drop them into my weekly weekly online writing club for the 11+ age group . The club marking will transform their writing, and quickly.

What is the relationship between the English paper and the creative writing task?

Writing is usually marked separately from any comprehension or grammar exercises in your child’s particular 11+ exam. Each exam board (by area/school) adapts the arrangement to suit their needs. Some have a separate writing test, others build it in as an element of their English paper (usually alongside a comprehension, punctuation and spelling exercise).

Although there is no creative writing task in the ISEB Common Pre-test, those who are not offered an immediate place at their chosen English public school are often invited back to complete a writing task at a later date. Our ISEB Common Pre-test students join the writing club in the months before the exam, first to tidy up the detail and second to extend the content.

What if my child has a specific learning difficulty (dyslexia, ADD/ADHD, ASD)?

Most exam boards pride themselves on their inclusivity. They will expect you to have a formal report from a qualified professional at the point of registration for the test. This needs to be in place and the recommendations will be considered by a panel. If your child needs extra arrangements on the day they may be offered (it isn’t always the case). More importantly, if they drop below a pass on one or more papers you will have a strong case for appeal.

Children with a specific learning difficulty often struggle with low confidence in their work and low self-esteem. The preparations set out above, and a kids writing club membership will allow them to go into the exam feeling positive and empowered. If they don’t achieve a pass at first, the writing sample will add weight to their appeal.

Tips and strategies for writing a high-scoring creative writing paper

• Read widely for pleasure. Read aloud to your child if they are reluctant.
• Create a strong paragraph plan where each paragraph has a distinct purpose.
• Using the list of example questions below, discuss how each could be written in the form of your paragraph plan.
• Write 3-5 stories with contrasting settings and action – each one must follow your paragraph plan. Try to include examples of literary devices and figurative language (metaphor, simile) but avoid clichés.
• Tidy up your presentation. Write with a good rollerball pen on A4 lined paper with a printed margin. Cross out with a single horizontal line and banish doodling or scribbles.
• Join the writing club for a 20-minute Zoom task per week with no finishing off or homework. An expert English teacher will mark the work personally on video every Friday and your child’s writing will be quickly transformed.

Pressed for time? Here’s a paragraph plan to follow.

At Griffin Teaching we have an online writing club for students preparing for the 11 plus creative writing task . We’ve seen first-hand what a difference just one or two months of weekly practice can make.

That said, we know that a lot of people reading this page are up against a hard deadline with an 11+ exam date fast approaching.

If that’s you (or your child), what you need is a paragraph plan.

Here’s one tried-and-true paragraph plan that we teach in our clubs. Use this as you work your way through some of the example prompts below.

11+ creative writing paragraph plan

Paragraph 1—description.

Imagine standing in the location and describe what is above the main character, what is below their feet, what is to their left and right, and what is in the distance. Try to integrate frontend adverbials into this paragraph (frontend adverbials are words or phrases used at the beginning of a sentence to describe what follows—e.g. When the fog lifted, he saw… )

Paragraph 2—Conversation

Create two characters who have different roles (e.g. site manager and student, dog walker and lost man) and write a short dialogue between them. Use what we call the “sandwich layout,” where the first person says something and you describe what they are doing while they are saying it. Add in further descriptions (perhaps of the person’s clothing or expression) before starting a new line where the second character gives a simple answer and you provide details about what the second character is doing as they speak.

Paragraph 3—Change the mood

Write three to four sentences that change the mood of the writing sample from light to gloomy or foreboding. You could write about a change in the weather or a change in the lighting of the scene. Another approach is to mention how a character reacts to the change in mood, for example by pulling their coat collar up to their ears.

Paragraph 4—Shock your reader

A classic approach is to have your character die unexpectedly in the final sentence. Or maybe the ceiling falls?

11+ creative writing questions from real papers—fictional prompts

• The day the storm came
• The day the weather changed
• The snowstorm
• The rainy day
• A sunny day out
• A foggy (or misty) day
• A day trip to remember
• The first day
• The day everything changed
• The mountain
• The hillside
• The old house
• The balloon
• The old man
• The accident
• The unfamiliar sound
• A weekend away
• Moving house
• A family celebration
• An event you remember from when you were young
• An animal attack
• The school playground at night
• The lift pinged and the door opened. I could not believe what was inside…
• “Run!” he shouted as he thundered across the sand…
• It was getting late as I dug in my pocket for the key to the door. “Hurry up!” she shouted from inside.
• I know our back garden very well, but I was surprised how different it looked at midnight…
• The red button on the wall has a sign on it saying, ‘DO NOT TOUCH.’ My little sister leant forward and hit it hard with her hand. What happened next?
• Digging down into the soft earth, the spade hit something metal…
• Write a story which features the stopping of time.
• Write a story which features an unusual method of transport.
• The cry in the woods
• Write a story which features an escape

11+ creative writing questions from real papers—non-fiction prompts

• Write a thank you letter for a present you didn’t want.
• You are about to interview someone for a job. Write a list of questions you would like to ask the applicant.
• Write a letter to complain about the uniform at your school.
• Write a leaflet to advertise your home town.
• Write a thank you letter for a holiday you didn’t enjoy.
• Write a letter of complaint to the vet after an unfortunate incident in the waiting room.
• Write a set of instructions explaining how to make toast.
• Describe the room you are in.
• Describe a person who is important to you.
• Describe your pet or an animal you know well.

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How to pass a creative writing 11 plus (11+) exam, last updated: october 9, 2023.

What is 11+ creative writing?

Whilst the main 11+ exam providers (GL Assessment, CEM, and ISEB) do not feature creative writing in their 11+ tests, many grammar and independent schools design their own exams that contain creative writing sections.

Even if your child isn’t facing an exam with a creative writing component, honing these skills offers many advantages. Developing their creative writing skills can help a child improve their creativity, communication skills, emotional intelligence, critical reasoning, and self-confidence.

What does the 11+ creative writing exam look like?

The format of an 11+ creative writing exam varies depending on the area or school your child is applying to. Creative writing in the 11+ will usually ask candidates to either write an original story based on a prompt or they will be given the start of a story and asked to complete a piece of prose in the same style of writing. Both types of assessment examine a child’s ability to plan and write their story in an imaginative, structured and coherent manner.

In the Kent Test, children are usually given five prompts to choose from and the purpose is to gather a writing sample from each child in case of a headteacher appeal. The Medway Test only gives candidates one prompt for an hour of creative writing. In Essex, however, candidates are given two paragraphs in an hour-long assessment which includes comprehension and vocabulary questions. 

Creative writing papers can be presented at any point of an 11+ exam. Sometimes it can be a completely separate paper, with its own timings, or at the end of another section, such as a comprehension exercise. If it comes at the end of a comprehension exercise, candidates will likely be asked to continue writing the comprehension passage or write about the same topic. Sometimes children will be given a list of prompts to choose from or they may be given only one title to write from, so it is vital that they are prepared for either option. 

It is important to note that these creative writing assessments are strictly timed. The length of time given varies depending on which school is setting the paper. It is important to remind your child of these time limits and make sure they are comfortable completing a piece of work in the allotted time.

How to help your child prepare for a creative writing exam

Here are some top tips on how to help your child prepare for their creative writing exam:

• Make writing a habit 

Encouraging your child to write regularly can significantly improve their writing skills. Establishing a writing routine can help your child practice consistently, gradually building their writing skills and confidence. 

A great way for you to help your child build their skills is to offer them daily writing prompts. These could be words, phrases, or pictures to spark their creativity and inspire their writing. You could further encourage your child by getting them to practice different techniques, themes, or styles. 

• Encourage them to read more

Reading is one of the most beneficial and rewarding activities that your child can do in the lead-up to their 11+. Introducing your child to a wide range of genres and encouraging them to read as much as they can is a great way to help them develop a strong vocabulary, understand writing styles, and become familiar with various devices and techniques. 

Supplying your child with both classic and contemporary novels, as well as poetry, plays, and non-fiction, will ensure they have a wide range of resources to take inspiration from. 

Reading widely will introduce your child to imaginative plots, creative vocabulary, and help them understand how different characters think and emotionally respond to various scenarios. 

• Offer them constructive feedback and celebrate their creativity  

Providing your child with regular constructive feedback is crucial for their writing growth. Focus on their strengths and encourage them to keep checking, proofreading, and editing their work. Getting them to revise and edit their writing is a great skill that will help them across their academic subjects.

You should also make sure you are consistently recognising and celebrating your child’s writing achievements to help build their confidence and motivation. You could set up a rewards system for writing goals, share their work with friends and family or encourage them to submit their work to writing competitions.

• Remind them that handwriting matters

Handwriting is a part of your child’s creative writing assessment and can affect their grade. Your child does not need to have perfect handwriting; however, it should be completely legible and easy to follow. 

You could help your child improve their handwriting by supplying them with pens that are comfortable and easy to use. You could also give them exercises, focusing on individual letters or words they struggle with. 

How to respond to a creative writing prompt

One of the tasks your child could face in their 11+ exam is to write a story based on a prompt. Responding effectively to a creative writing prompt is not just a test of your child’s imagination and creative abilities but also their organisational skills, understanding of narrative structures, and vocabulary. 

Although there is no way to know which topic your child will be asked to write about in their 11+ exam, there are a handful of topics that have regularly come up in the past. Here is a brief list of tasks your child could be asked to write about in their exam and some examples of what this question could look like: 

• Write a story about a stormy day.
• Write a story entitled, ‘Afraid’.
• Continue a story that begins with the line: Outside my front door, someone had left a large cardboard box.
• Imagine you are an alien that has just landed on Earth. Write a recount of your first day.
• Describe a visit to an extremely hot place.
• Write about a time that you or someone else became very angry by something. Explain what happened and describe how you felt. You should make your writing as interesting and detailed as possible.
• Write a story based on the following image.
• Describe this image.
• Write a letter to complain about the uniform at your school.
• Do you think children should be able to have smartphones? Write a persuasive article in which you outline reasons for and against.

Here are some tips on how your child should respond to a creative writing prompt in an 11+ exam:

• Understand the question

The first step in responding to a creative writing question is to analyse the prompt carefully. If your child has been given multiple prompts to choose from, encourage them to make a quick decision and to choose the option that they feel they can write most confidently on. 

Once they have chosen a prompt, it is important for them to understand what it is asking them to do. It could be asking for a story, a description, a personal anecdote or a piece of informative writing, and each of these could inform their writing in different ways. 

• Start planning 

They should then start to plan their response, spending just a few minutes jotting down any ideas they have and beginning to think about how to structure their writing. 

Briefly outlining how they will start their story, the main events that happen, and the ending can help them with their writing flow and ensure they complete their story within the time limit. Deciding on the setting, characters and sequence of events straight away can also help alleviate some exam stress and help your child feel confident in their storytelling abilities

• Start writing 

It is important to encourage your child to start writing as promptly as possible, especially if the creative writing exam has a short time limit. Whilst spending time properly reading the question and planning are vital first steps, it is important that your child does not spend too much crucial writing time in these stages. 

A great way to start writing a story is by describing the setting and the first characters. You should encourage your child to use lots of descriptive language and devices (similes, metaphors, onomatopoeia etc.)

If your child is being asked to write a piece of non-fiction, a great way to start is by setting out their argument in an introduction. If they are answering a question such as ‘Do you think children should be able to have smartphones?’ or ‘What is your favourite season of the year?’ they should also make sure to include a conclusion at the end of their work. 

• Edit and proofread 

You should encourage your child to take a few minutes towards the end of their exam to proofread their writing, especially if they are someone who usually finishes early. They can use this time to check for spelling and grammar mistakes or make sure the story flows smoothly.

This is also a good time for them to double-check that they have answered the prompt correctly and included everything they wanted to in their plan.

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At Examberry, we have a great Creative Writing Course , starting October 2023, designed to help your child reach their full potential in the lead-up to the 11+.

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11 Plus Creative Writing Help: How to Ace the Exam

• May 23, 2021
• Posted by: Tutor Rise
• Category: 11 English 11 plus Creative Writing 11 Plus Preparation How to pass 11 Plus exam

The 11 Plus exams are meant to test children’s understanding of subjects, such as; Maths, English, Verbal Reasoning and Non-Verbal Reasoning. In some 11 Plus English exam papers, children will be asked to complete a creative writing test – an important component that, unfortunately, many students fear.

At Tutor Rise , we are dedicated to helping your child succeed. In this article, we have prepared a comprehensive guide for your child to help them with their 11 Plus Creative Writing component.

11 Plus Creative Writing: Complete Guide

Creative writing for the 11 Plus Exam can last anywhere between 20 and 50 minutes. It may require you to either complete a continuous prose exercise (where you have to continue the start of a story) or write an original story from scratch. With either task, the goal is to examine your ability to plan and write in a structured and engaging way.

Below, you can find some tips that will help you to unleash your creativity and convey your writing abilities.

Free Your Imagination

Before you start to write (or even plan), take a little time to daydream and let your imagination do the work. If you can clearly see your story in your head, you will be able to describe it in a powerful way, with deep descriptions and engaging writing.

Create a Plan

Your next step is to create a simple plan. When you have a short time to write, there are two crucial things that will hold your story together: the main event and your central character. As such, your plan should include:

• The main event
• Your main character
• Where and when the story is set
• Getting there or how you will get to the main event
• The ending or what will happen after the event

Choose One Main Event

For an 11 Plus Exam creative writing story, we recommend choosing a single main plot event – if there is too much happening, your descriptive skills may simply get lost. If there is a dramatic event, make sure to describe it powerfully and give a clear sense of the reactions of your characters.

Focus on a Single Main Character

Similarly, it is best to focus on only one core character. You likely won’t have enough time to make more than one person believable and interesting in a short thirty-minute exam. Therefore, make your main character stand out and only refer to others in passing.

Don’t Be Afraid to Skip the Intro

If you are writing a short story, it does not need the same introduction as a 300-page novel would. You do not have to give a full background on your character, and especially not in the beginning of the story.

Writing a full introduction will waste a paragraph, when you might only have enough time to write three or four five paragraphs in your entire story. Instead, you can mention any important information about your characters somewhere along the way.

Include a Little Dialogue

Including a dialogue in your exam story is an excellent way to showcase your punctuation knowledge and make your piece a little different. However, be careful not to turn your story into a script. Include a little dialogue for your 11 Plus creative writing test, but keep the main focus on your description of the characters, settings, and events.

Be Descriptive

Many creative stories have core themes or emotions embedded within them. To give you a better idea of what to expect, below are some common topics and tasks that have come up in 11 Plus writing exams:

• You may be asked to write a story about your favourite animal, an animal you are afraid of, or your pet.
• Activities you like. This is an opportunity to describe the activity itself, as well as how it makes you feel.
• Emotions and feelings. Many times, stories include a requirement to describe a specific emotion like joy or fear that you have experienced in a certain situation.
• The built environment. You may need to describe a build environment, such as office blocks or houses, castles or cottages, roads, churches, and more.
• The natural world. Finally, another popular topic includes the description of the natural world. Think mountains and hills, streams and rivers, rain and sunshine.

To help you prepare, think about how you would describe any of these themes well before your exam. Show, not tell! Use a range of senses throughout your story and do not forget to include similes and metaphors where appropriate.

How is 11 Plus Creative Writing Evaluated?

Creative writing skills evaluated in the 11 Plus Creative Writing exercise include the following components:

• Creativity and imagination. Some people are naturally creative, but do not be desperate if you are not. You can improve your imagination over time by reading a variety of books.
• Effective planning. Never jump to writing right away. Creating a plan will help you organize your thoughts and give a structure to your story.
• Correct use of English grammar . You will be expected to correctly apply the rules of grammar throughout your writing. All sentences should be complete and make sense, all word groups should be used correctly, and correct forms of verbs should be applied.
• Correct use of punctuation. It is important to use all the correct punctuation marks in your writing piece. Review the standard simple forms of punctuation, along with less common punctuation marks like ellipses, brackets, hyphens, apostrophes, colons, and semicolons.
• Correct spellings. Needless to say, correct spelling is essential in any type of writing. Review and practice spelling rules, as well as the spelling of irregular words.
• An interesting and “fluent” writing style. Each person has an absolutely unique writing style. Aim to demonstrate your ability to write in an entertaining way that will keep your reader engaged.
• A good structure of your text. Make sure to demonstrate that your text has structure with clear paragraphs that are organized by topic, characters, and time.
• An interesting and extensive vocabulary. It may take years to develop an extensive vocabulary, but a proven method is to read numerous books and search for new words that you can use in your own writing.

Get Ready for 11 Plus Creative Writing Exam with Tutor Rise

Without a doubt, passing the 11 Plus Creative Writing aspect of the exam is no easy task. From use of advanced punctuation and grammar rules, to correct spelling and interesting vocabulary, there is a lot to keep in mind.

Fortunately, you and your child are not alone in this. At Tutor Rise , our 11 Plus Writing Course was created by 11 Plus exam specialists who have years of teaching experience. We are truly dedicated to using innovative strategies and tools to help your child progress quickly and truly excel in their exams and beyond.

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English Creative Writings with Detailed Answers

• Creative Writings Covering Different Styles
• Model Answers with Hint, Plan and Checklist
• Best for UK Schools Creative Writing Exams

Free English Creative Writings & Answers ✍️

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Yes, as a part of the 11+ Exam, aspirants might be required to complete a creative writing exam. CSSE exam board conducts 11+ Creative writing exam. You can practice 11+ Creative Writing papers to get high marks in the creative writing exam.

You can prepare for the 11-plus Creative Writing exam using 11+ Creative Writing papers . With regular practice of these practice papers, you will have a clear idea of what is being asked for the creative writing exams. You can also improve your creative writing skills by reading books by well acclaimed authors and writing short stories or essays.

No. Due to its digital nature, the English Creative Writing Pack is non-refundable.

Topics included in the 11+ Creative Writing exam:·        

• Descriptive creative writing - Examples: continuing a story on a given line,ending a story on a given line, diary entry, picture response, describing an object & describing a person·
• Persuasive writing – Examples : charity appeal, book review, restaurant review, letter of complaint & speech
• Narrative writing - Examples : science fiction, play script, gothic.     
• Argumentative writing – Example : arguing for or against a statement·              
• Expository writing – Examples : instructions, an article about your home town.

With regular practice of 11+ Creative Writing papers , you will pass the exam with a high score.

Examiners mostly look for descriptive language -  similes, metaphors, adjectives, sibilance & alliteration. Being proficient in written English will help secure a good score. Students are expected to use proper grammar, punctuation, and spelling. You can practice 11+ Creative Writing papers to score high marks.

We keep on adding more Creative Writing Tasks throughout the year. The existing English Creative members get access to these new tasks.

Hurry! 11+ Exams are approaching in 6 months. High competition. Most parents fail to do structured planning for the 11+ Exam preparation.

Get a plan and strategy from 11+ Expert Tutors. Avoid the common mistakes that other parents make.

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How to Pass The Creative Writing Section of Your English GCSE

The creative writing component of the English Language GCSE can leave most students petrified. Having not practiced writing creatively since a much younger age, the dive into creative writing, especially when students are hounded to write academically, can be a challenge.

Often the English Language creative writing component will be phrased as so:

'Write a story about a time you felt overwhelmed' or 'Write a story inspired by the picture below'.

All of the above instructions are relatively vague. For students who are used to being told what to do, and for the English Literature component, asked to explore only a very specific area of the text – the idea of writing free reign is enough of an overwhelming story.

However, students shouldn’t be scared. English is nothing but the study of stories – and while you may feel left in the proverbial dark, actually stories are weaved into your every day life. From posts on social media, to newspaper articles and the texts you study for English Literature. So, there’s nothing daunting. You can weave a narrative just as succinctly and easily.

Here are some tips to consider:

Read anything and everything.

Well, start with novels. When you turn 16, there’s no novel too detailed for you to explore and while I’m not saying you should start off reading War and Peace, you should be reading literature that excites and interests you. Whether it’s The Hunger Games, 1984 or Pride and Prejudice - all of these texts are filled with exciting stories for you to think about. Ask yourself: how does the author create suspense? What about the character is intriguing to you? For example, in The Hunger Games, Katniss Everdeen sacrifices herself for her sister – while she acts bravely, the author still indicates that she is frightened and overwhelmed. There is an internal conflict here that makes the character fascinating.

Be varied in your vocabulary

Words like “nice” and “said” are a bun with no burger, relish or cheese… bland! So, take a look at the example below so you can see for yourself why:

“Good to see you,” she said.

“Likewise,” John said.

Now take a look at the same examples with the “said” removed and some more detail added.

Lucy finished walking her bike up the hill. Drenched and exhausted, she extended a sweaty arm. “Good to see you,” she panted.

“Likewise,” replied John, who shook her outstretched hand lightly and then proceeded to wipe the remains on his tweed trousers.

See the difference?

The five senses rule

When writing creatively, especially when you are being asked to write in the first person, you can describe the immediate area drawing on your five senses; taste, touch, sight, sound and smell.

If in the English GCSE exam, you were presented with a picture of a crowded market place and asked to write a story revolving it, you could open with the following (bonus points if you can spot any literary techniques):

The food market was a buzzing hive; its occupants busying themselves with the buying and selling of sweet smelling delicacies sourced from Toulouse to Timbaktu. I caught a whiff of Jasmine on the wind and was delighted to find a pastel painting of Turkish Delight, coated with a light dusting.

“You like?” cried the seller, ignoring the three other customers in the queue and trying to entice me in. I waved an apologetic hand and squeezed my way deeper into the market.

I was trying to remember to the words for ‘excuse me’, but had forgotten the teachings of the busboy at the hotel. The noise built into crescendos at every stand, with gossip, commands and bartering taking place in a rich dialect I couldn’t comprehend. Each and every direction I turned, I was jagged with an elbow or forced to fake-interest in a stall in which I had none. I was becoming overwhelmed, so I stole into a small crevice on the side of the market to seek respite.

Obviously, you will need to write more than this. But try to make your language as rich and engaging as possible.

Make sure to reread your work

Your creative writing component will be judged on spelling, grammar and punctuation, so make sure that you read your work once you’re done to iron out any potential mistakes.

If you want a little bit more help, Tutor House offers world-class English GCSE tutors. To find out more, or to book your tutor today, call 0203 9500 320

Alex is the founder and director of Tutor House and has a degree in Psychology. He has worked in the educational industry for 14 years; teaching Psychology for 8 years at a school in London. He now runs Tutor House, after setting it up in 2012. Alex still tutors every week, he writes for the Huffington Post and has appeared on the BBC and ITV to discuss educational topics. Alex is an educational consultant and UCAS expert, he’s worked with hundreds of students over the years. He’s obsessed with squash, but is distinctly average.

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Creative writing in english in exams and in the classroom.

Hints and Tips - 7 minute read

Isobel Woodger, OCR English Subject Advisor

Reading as a writer, writing as a reader

Our approach tries to marry students’ experiences as readers and writers. This is why the creative component for Language and Literature is called “Reading as a writer, writing as a reader”, to emphasise that students should see elements they’ve explored in their texts not just as inspiration, but as a set of tools they can use in their work.

Equally, as I saw during a recent English and Media Centre (EMC) course on teaching The Bloody Chamber , creative writing can create powerful, conceptual responses to texts as well as deepen understanding of the author’s process.

What is our approach to creative writing tasks?

Crucial to our approach, at all levels, is the dual focus on narrative and choice. We believe in offering students a choice in which narrative they are asked to create to enable better, more authentic responses. It’s important that students feel they are involved in the assessment as opposed to simply sitting it.

Additionally, we focus on narrative over pure descriptive writing as we think this helps generate truly creative, imaginative work. In Component 2 of our GCSE English Language course , students are asked to write a creative response to one of two prompts, like those below from the 2018 June series .

One is narrative based, e.g. giving a title as a prompt for a story; the other is more of a personal, reflective response, giving a scenario to develop.

From June 2018, GCSE English Language Component 2:

This links neatly to the tasks we set in A Level Language & Literature course which we co-developed with EMC. In the second part of Component 3, students choose one of two narrative prompts like these from the 2018 June series:

Students should write approximately 500 words of an opening to a narrative, clearly using some of the bullet points provided. They are, in the next question, asked to write a commentary on their work.

What are our examiners saying?

Our examiners are aware that writing creatively on demand is a complex brief to fulfil. We also know that what we respond to as readers is often the author’s control: how they guide our responses to places, people and topics, as well as play with our assumptions and expectations.

At GCSE, the mark scheme talks about Level 6 students adapting the form of their writing “to position the reader” as a way to demonstrate “sophisticated control of purpose and effect” alongside “skilfully control[ing] overall structure.” Ultimately, whatever their level, students should aim to write a piece that demonstrates a sense of narrative control over its style and is structured to direct their reader’s response.

Without taking the time to plan a response, it can be hard to demonstrate this control. As the June 2018 GCSE Examiners’ Report says, “The best work has been carefully planned and builds to a clear and effective conclusion.” Knowing what and how they want to write offers students more control over their work and gives them greater scope for inventiveness.

A crucial way to approach students’ ability to plan is to build their understanding of structural choices. Being able to choose what narrative voice they wish to use, where the story should open and close, how the story ought to progress – these are structural decisions that can enable students to write more imaginatively, without a dependence solely on vocabulary extension. Naturally, exposing students to a wide range of texts of different kinds is what aids this understanding.

Some consideration of time can be a great way for students to be more formally and structurally inventive, as outlined in the same report: “The use of flashback, flash forward, starting at the linear conclusion and working back to the beginning […] can all bring a great deal of creative originality to straightforward or even rather mundane content.”

Creative writing strategies for the classroom and the exam:

Use analogies both as instructions and models. For example, ask students to think of perspective as being like directing a film scene, where your decisions about where the camera should be and who it should focus on can change how the audience feels.

Don’t be afraid to use creative writing as tool for understanding other texts or ideas. Teaching students to write creatively only in response to examination prompts isn’t the way to broaden their ideas. Instead, use creative writing as a way for them to respond to a Literature text; use it as a way for them to express their thoughts about a concept like inequality, or relationships.

Using style models is underrated. Get students to write in the style of a range of authors, so they can learn from the inside out how voice is constructed in different ways depending on the writer.

Exploratory writing could form part of the planning process. Often students think planning means coming up with a list straight away. It’s worth asking students to write in an exploratory way about a text or a task before getting them to consider which of those ideas might form a road map for their own writing.

Effective description moves beyond modifiers. Adjectives and adverbs are important but should be used with judgement. Having a wider range of descriptive, precise verbs will give students more control over their work.

Plan to write something ‘real’. This isn’t a plea for realist fiction, but rather, responses that have a sense of emotional reality. This can help ground writing, giving it depth and direction. This can be easy to miss when trying to plan for something dramatic or surprising.

In short, we want students to write pieces that demonstrate control and consideration, which show they can choose words with care to craft a planned narrative. We think the more students are aware that their experiences as readers can be used or adapted for themselves in their own work, the wider range of tools students have at their fingertips.

Stay connected

Have you got any creative writing strategies you’d like to share? Or perhaps there’s a particular area of the subject you’d like us to talk about. In either case, do submit your comments below or email us at [email protected] . You can also sign up to receive email updates or follow us on Twitter at @OCR_English .

About the author

Isobel joined OCR as a member of the English subject team, with particular responsibility for A and AS Level English Literature and A and AS Level English Language and Literature (EMC).

She previously worked as a classroom teacher in a co-educational state secondary school, with three years as second-in-charge in English with responsibility for Key Stage 5. In addition to teaching all age groups from Key Stage 3 to 5, Isobel worked with the University of Cambridge’s Faculty of Education as a mentor to PGCE trainees. Prior to this, she studied for an MA in film, television and screen media with Birkbeck College, University of London while working as a learning support assistant at a large state comprehensive school.

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How to Pass an Essay Test

Last Updated: January 18, 2023 References

This article was co-authored by Michelle Golden, PhD . Michelle Golden is an English teacher in Athens, Georgia. She received her MA in Language Arts Teacher Education in 2008 and received her PhD in English from Georgia State University in 2015. There are 11 references cited in this article, which can be found at the bottom of the page. This article has been viewed 39,852 times.

Essay exams are used to determine whether or not you can sort through a lot of information, figure out what is important, and explain why it is important. Essay exams challenge you to recall main ideas from a class, put them into your own words, and to use the interpretive or analytical skills you’ve learned in the class. If you are accustomed to multiple-choice tests, preparing for this format presents a different kind of challenge.

Preparing for the Test

• Find out what material will be covered with this test. Will it pertain to a certain set of readings, cover everything from a specific unit, or draw upon what you’ve learned throughout the course?
• Find out how much time you will have, how many questions there will be, and what you will need to bring to the test.
• Find out how many points will be dedicated to mechanics, like grammar and spelling, as opposed to the content of your answers.

• Look through your material and organize concepts into categories.
• Look for important ideas and organize your notes into groups.
• Brainstorm ways that these groups correspond to each other.

• Get a good night's sleep. [4] X Research source
• Eat a nutritious breakfast. [5] X Research source
• Do something that helps you relax, such as playing a game or taking a bath.

Planning to Write

• Decide how much time you will spend planning your writing, writing the actual essay, and proofreading.
• Consider using a 5-45-10 ratio (for an hour-long essay exam): 5 minutes to plan, 45 minutes to write, and 10 minutes to revise. You can adjust this ratio to fit your own time constraints. [6] X Research source

• Define: Provide the subject’s meaning (or definition). Often you will be asked to provide one than perspective on the subject's meaning.
• Explain why/how: describe the reasons why, or the steps leading up to how a particular thing occurred.
• Compare or contrast: Show how two or more things are similar or dissimilar.
• Prove: Give reasons or examples to demonstrate how or why something is the truth.
• Analyze: Look closely at the components of something to figure out what it might mean, or why it is important. [7] X Trustworthy Source University of North Carolina Writing Center UNC's on-campus and online instructional service that provides assistance to students, faculty, and others during the writing process Go to source

Writing the Essay

• Read your entire essay to check for clarity. Go back to the prompt and make sure that you have answered the question or questions.
• Proofread for grammar and spelling. Be sure to check spelling of words you learned in class!
• Check that every body paragraph has a topic sentence, specific evidence, and a connection to the thesis.
• If time allows (and if the essay is handwritten), rewrite the essay to reflect any changes you made. Use your best penmanship.

Community Q&A

• Keep it tidy! If you are composing this essay by hand, make sure you use legible handwriting. [13] X Research source Thanks Helpful 0 Not Helpful 0
• Look over previous essay tests from the same teacher in order to predict what kind of questions you will be asked. Thanks Helpful 0 Not Helpful 0
• Time spent on planning your writing can often be the most valuable. Jot brief notes (not complete sentences) to yourself about what you will address, and you will spend less time writing the paper. Thanks Helpful 0 Not Helpful 0
• Don't neglect any part of the prompt. Answer it wholly and completely, and refer back to it often during your writing. Watch out for two-part questions, and be certain to answer both parts. Thanks Helpful 5 Not Helpful 0

You Might Also Like

• ↑ https://www.youtube.com/watch?v=uraHllrHjvA&ab_channel=ODUWritingCenter
• ↑ http://writingcenter.unc.edu/handouts/essay-exams/
• ↑ https://owl.english.purdue.edu/owl/section/1/4/
• ↑ http://www.huffingtonpost.com/2014/06/22/sleep-hours-exam-performance_n_5516643.html
• ↑ http://www.nydailynews.com/life-style/health/kids-eat-breakfast-score-higher-iq-tests-article-1.1257823
• ↑ https://www.youtube.com/watch?v=z73tswpuek&ab_channel=ODUWritingCenter
• ↑ http://www.writing.ucsb.edu/faculty/donelan/intro.html
• ↑ https://owl.english.purdue.edu/owl/resource/724/02/
• ↑ https://owl.english.purdue.edu/engagement/2/2/60/
• ↑ http://writing.umn.edu/sws/quickhelp/process/editing.html
• ↑ http://www.princetonreview.com/college-advice/sat-essay

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3 Simple Ideas for Your Creative Writing Final Exam

Creative Writing is usually a fun class that allows students to be more inventive and imaginative with their writing. How, then, do you possibly assess students’ growth at the end of the class? In this post, I will share three ways you can give students a Creative Writing final exam or summative assessment. 

( Looking for more Creative Writing teaching tips? Try this post! )

Creative Writing Final Exam Idea #1: Portfolio

With a portfolio, students will determine which of their writing pieces from the class were their best. Then, they’ll assemble them together. 

The pros of this final exam? 

Theoretically, you won’t have to read any student writing for the first time. This will save you invaluable grading time during those last, precious few days of the year. 

A portfolio will also force students to reflect on their own learning. Make them justify or explain each piece in their portfolio. This will show you what concepts students have learned and what skills they’re proud of having mastered. 

This is also a final exam that should be difficult for students to fail. If they’ve done the work throughout the class, they’ll have plenty of pieces from which to choose. However, if they’ve slacked the entire class, it will obviously show in their final product–or lack thereof. 

Engage your students in more creative writing!

Sign up and get five FREE Creative Writing journal prompts to use with your students! 

Opt in to receive news and updates.

Keep an eye on your inbox for your FREE journal prompts!

Creative Writing Final Exam Idea #2: Literary Terms Test

Giving a test is certainly a final exam classic. For a Creative Writing class, you can give one that focuses specifically on literary terms. 

Throughout your class, you’ve no doubt covered and reviewed many terms as you’ve read and written with your students. Now’s the time to see what stuck. 

If you give a test online through a tool like Google Forms, it can be graded instantly. 

You won’t have to waste much time reading–which you might not have if you’re required to give an exam on the last day of school. 

If you choose to do a test as a final exam because you’re short on time, try to make as much of the test multiple choice (or matching, fill-in-the-blank, or other easy-to-grade question styles) as possible. 

This Literary Terms test is entirely multiple-choice for quick and easy grading. 15 questions are simple multiple choice. 20 questions are matching. And 15 are questions based on excerpts from texts. 

The entire test is editable, and it also comes with a Google Forms version which can grade itself. 

If you’re only giving a final exam because it’s required of you, a simple test might be the way to go. 

Creative Writing Final Exam Idea #3: A Larger Writing Assignment

This is for Creative Writing teachers who don’t have to give a final exam on a specific day or who want a general summative assessment. Having students tackle a larger writing assignment might be the best way to assess and challenge students. 

This larger writing assignment could be almost anything and will depend on the kinds of writing you’ve done in class already. 

Students will learn and practice more writing while completing a new writing project. 

(This version will, however, take you longer to grade. If you can’t give your final exam until the last day of class or have to turn grades around quickly, avoid this.)

While your final writing project could be anything, I’ll present two that work well.

First, an Author Study can be used for poetry or short story writing. If you really want students to focus on literary terms, analyzing literature, and examining mentor texts, this is the project for you. 

Learn more about structuring and teaching an author study project here . 

Another classic writing project is the Fairy Tale Retelling Project . This project has some built-in differentiation and scaffolding making it a great choice if you have some struggling writers in class. 

You can learn more about structuring and teaching a fairy tale retelling project here.  

If you decide to go with a larger writing assignment as a final exam, start early. Students will probably need more time to finish than you think. 

Also, give students an early due date. If you have to read entire short stories before the end of the year, you’ll want to make sure you have at least a week to do all of that grading. 

For a Creative Writing final exam, be realistic about how much time your students will have to complete it and how much time you’ll have to grade it. 

If you have to give a test and turn in grades within forty-eight hours of one another, a simple test will be your best option. Even if it’s not the most exciting assessment option for you or your students. 

However, if you want students to end class engaged in something meaningful, a larger writing project might be the perfect capstone for your course. 

Be realistic and make the choice based on your schedule. 

Writing tips for English proficiency exams

Here are our latest writing tips for English proficiency exams. We have already given reading tips and speaking tips to help English test takers get better results in an English level test. This week we are looking at the writing component and giving advice for those taking official English exams.

What do English writing tests include?

[Last updated on 25/07/2018]

English writing exams are designed to assess your English level with different writing tasks. This can include:

• writing short messages, postcards or emails (in lower level exams);
• describing information that is presented visually – the visual information could involve a graph, chart, diagram, or table etc;
• writing an article, review or report about a given topic and to a target reader;
• presenting an organised and well-supported argument – the test taker is given an opinion or problem that is related to a specific topic;
• writing a letter in response to a specific situation, which may be formal, neutral or informal.

Some English writing exams have one test for all levels (e.g. IELTS, Pearson PTE) and are divided into two areas, Academic English or General English. Other writing tests may have slightly different tasks if the exam is designed for a specific level. For, example, the Cambridge Key (KEY) exam is targeted at English level A2, and has simpler writing tasks than the Cambridge First (FCE), which is for English level B2.

Therefore, we recommend that you first consider why you need to take the test (e.g. for study, work or visas), and this will help you to decide which test is most suitable for your requirements. Here is our  comparison of English proficiency examinations that are available.

What does an English writing exam assess?

In an English writing test, you are required to complete specific written tasks, and each provides guidance on the number of words that you should use. Your English writing skills will then be assessed to decide your English level of proficiency. Examiners have specific criteria to determine your English level, and these normally include the following areas:

Task achievement (Content)

• How well do you complete the task that you are asked to do?
• Is the writing content relevant to the actual task?
• Does your writing show a good range of grammar?
• Is your grammar accurate and appropriate for the task?
• Does your writing show a good range of vocabulary?
• Is your vocabulary accurate and appropriate for the task?

Coherence and cohesion (Organisation)

• Do you structure your writing in a logical sequence (e.g. use of paragraphs for an introduction, main body and conclusion)?
• How well do you link ideas and information in clauses and from sentence to sentence?

BEFORE THE EXAM

1. Familiarise yourself with the format of the writing test in advance

The writing exam will be more difficult if you have not researched the format. Key points to check are the length of time, the number of tasks and the type of tasks that are included in the exam.

2. Find examples of the writing tasks for the relevant exam.

The same types of tasks and topics are used in English writing exams (e.g. an email or letter, describing information, providing a well-supported argument). There are examples of specific exam papers online and in books that you can read in advance.

3. Prepare by practising writing

The best way to improve your writing skills and timing for the exam is to practise answering specific exam questions in a set time. Sample examination papers often come with suggested answers or actual examples taken from test takers who sat the exam. Therefore, you will be able to compare your written work and set targets. You can also consider enrolling in an exam preparation course so that a qualified English teacher can read your work, make corrections and give feedback to help you to develop faster.

DURING THE EXAM

4. Write clearly

Try to write clearly and naturally in the exam because examiners have a limited time to assess each exam paper. You need to make sure that your writing is easy to read, and don’t just write everything in capital letters – this is not natural either!

5. Pay attention to the time

It is important to keep an eye on the time, because the first writing task usually requires less words and is not as valuable for the exam results as the second writing task. For example, a writing task with a guideline of 20 minutes and 150 words is worth less than a task with a guideline of 40 minutes and at 250 words.

6. Think and plan

In any language, it is normal to identify the key points and make notes of our ideas before we start writing (e.g. for a letter, essay or assignment). We recommend spending a few minutes to analyse the questions, underline key points and plan the structure of your answer. This can also be a useful way to make sure that you complete the task that you are asked to do. In other words, preparation with notes can help to ensure that you answer the question that you are given!

7. Think about your target audience to decide the style of writing

Each writing task indicates the style of writing that you need to use. If you are writing a personal email to friend, then your writing can be more informal. However, if you are writing a complaint letter, the style of writing will need to be more formal. Alternatively, some essays require an academic focus.

8. Use a variety of English grammar

The writing task gives you the opportunity to demonstrate your ability to use English grammar to the examiner. Can you show a good range of grammar, and use it accurately with different structures?

9. Use a variety of English vocabulary

You should also show your knowledge of English vocabulary in the English writing exam. Do you have a wide range of vocabulary with accurate spelling and word formation? This can include expressions, collocations, phrasal verbs etc.

10. Provide a logical sequence that links ideas and information together

Remember that examiners will also assess how well you organise your writing. Therefore, one of our key writing tips for English proficiency exams, is to make sure that you provide a logical sequence in your answer and use paragraphs accurately. You also need to link ideas to previous sentences smoothly and appropriately (e.g. with words and expressions such as firstly , in addition , on the other hand etc).

For example, if you are presenting an argument in an essay, here are our tips for writing for a logical sequence and linking ideas:

Introduction Introduce the topic, make a reference to the key points in the task, and explain the focus of your essay.

Main body Write two or three paragraphs to support your arguments or opinions. Give the main idea at the start of each paragraph. Support the idea with examples and explanations. End the paragraph with your opinion. Use one paragraph for each key point (e.g. separate reasons to support your argument, or by advantages and disadvantages).

Conclusion Do not use the final paragraph to introduce new information. Summarise the key points from the essay (e.g. with expression such as in conclusion , to sum up ) and give your final or overall opinion.

Ideas to improve your English writing skills

Read a variety of English texts for examples of writing

We all learn from good examples and reading is a great way to see different styles of writing. This demonstrates how the text is organised (e.g. in an email, articles and reviews), and gives ideas of how to use paragraphs and link sentences.

Practise writing as much as possible

We recommended that you take practice tests for the relevant English proficiency exam within the time limit. Some resources will also give you sample answers and the results so that you can compare

Which proficiency exam is best for you?

You can you can start today by trying our English level test . There is one test for all English levels (A1 - C2), with 60 questions and only 40 minutes. This can help you to find out your level and decide the best option. We also provide more information about official English exams and recommended materials that will help you prepare.

It can also be beneficial to take an English exam preparation course with a qualified English teacher. This is the best way to get feedback and improve your language skills for the examination day.

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How to prepare for writing exams

(Last updated: 12 May 2021)

Since 2006, Oxbridge Essays has been the UK’s leading paid essay-writing and dissertation service

We have helped 10,000s of undergraduate, Masters and PhD students to maximise their grades in essays, dissertations, model-exam answers, applications and other materials. If you would like a free chat about your project with one of our UK staff, then please just reach out on one of the methods below.

Here’s what we cover in this blog post on essay exam preparation: A week before The night before Assembling all the right tools Getting enough sleep Eating well Exam day Getting started Reading (and understanding) the question Creating a mind map or outline Timing it right Writing each paragraph Reviewing, editing and proofreading Final tips

It is coming to that time of year when everyone is thinking about exams. This year, which might be different from what you have experienced in previous years, there is an increasing number of essay-based exams.

This post is going to take you through the process leading up to the essay exam. It will highlight the preparation as well as a useful strategy to follow as you begin to write. While there is undoubtedly a whole lot of stress associated with essay-based exams, by creating a plan and implementing it on exam day, you will be on the road to success.

A week before

Creating a study plan and sticking to it.

Studying for your exams is an essential part of the process, but essay exams are often difficult to prepare for because there is a lot of revision notes and information to review and only one (or two) essays to write.

There are a number of essay exam strategies that could be asked of you as final exams approach. Your instructor could give you a list of possible exam questions, and then choose one for the essay based exam. They could provide you with a list of themes, and then provide the essay question on the day, or they could provide you with no information (other than your course syllabus) and wish you good luck. You are going to approach your studying dependent on what information you have, but for all the cases, you are going to start studying at least a week before the exam date.

In your essay exam preparation, remember that sitting down for 8 hours a day to study is an unrealistic goal. Your brain is going to get distracted, and you won’t be making the best use of your time.

Instead, set reasonable time periods that you think you can study in. Make sure these times are not too early or too late, but fall within what you think is your most focused time of day, i.e. if you’re an early riser, set your study hours for first thing in the morning. Study in chunks of about 20-30 minutes, taking a break in-between each chunk. In this way, you will train your brain to remain focused, while avoiding certain distractions, like social media.

Once you have your essay exam plan in place, try to follow it each day for optimum success.

The night before

Assembling all the right tools.

When preparing for your exam, your instructor will have told you the tools that are (and are not) permitted during a written exam. Rather than trying to find all the pieces on exam day, try and assemble them the day before so this is one less thing that you are worried about. At a minimum, having a pencil, pen, highlighter, and some scrap paper is essential. We would also encourage you to have something to drink available, and ensure that you stay hydrated.

In some exams, you will be permitted to use your notes, textbook, lecture notes, or other sources of information. If this is the case, make sure you have those handy as well and that they are organised in a way that makes sense to you. Hopefully you will have studied these course materials in preparation for the test. If you highlight or underline core pieces of information in advance, these indications will help you to find the details you need quickly and efficiently.

Getting enough sleep

The night before an exam can be a stressful one and you may find it difficult to fall asleep or stay asleep. Some people worry that they will sleep through their test, while others find it difficult to detach from all the information that is undoubtedly swirling around in their brains.

Getting enough sleep and being well rested for exam day is important, so make sure that you do something to relax before you hit the sack. This might include a bath, an outdoor walk, or watching your favourite movie.

It is probably best to avoid chatting with friends on your course, as you do not want their anxiety rubbing off on you! Instead, take some time to yourself and go to sleep knowing that you have prepared well and are on track to success.

Eating well

Along with sleeping, it is important to make sure that you are eating well. There is nothing worse than feeling all bloated during an exam. Also, drinking copious amounts of coffee before the exam can make you jittery and can affect your concentration. Coffee and tea are also well-known diuretics… so yes, visit the toilet before the exam starts!

If your exam is early in the morning, try and have a light breakfast. If it is later in the afternoon, try to avoid having a huge meal that will make you feel sleepy. Choosing healthy options and staying away from excess sugar and caffeine will provide a positive outcome.

Getting started

OK, so you have had that good night’s sleep, eaten a healthy breakfast and now you are ready to go.

Sometimes you have to wait several hours before the beginning of the exam. Studying during these hours may stress you out, so if you have done ample studying before, you may just be able to relax.

If you are finding that you are really stressed, take yourself out of the situation. Go for a walk, do some yoga, catch up on an episode of your favourite sitcom.

When you finally log into your exam, take a deep breath, read the exam instructions carefully, noting how much time you have, what the formatting requirements are, how you are supposed to name/save your file, and how to submit.

Reading (and understanding) the question

Sometimes we can get so nervous in an exam that we start to write without reading the entire question. Don’t fall prey to this. It is important that you read the question from beginning to end and to look for clues as to what the course instructor actually wants. Your instructor will probably use some keywords in the essay question, and if you understand what they mean by these words, you are in a better position to fully address the question.

Here are some of the essay question words they might use (and what they mean):

• Describe: probably the easiest one to write about, this is about creating a list of characteristics, qualities, or parts.
• Compare: this requires you to take two things and look at the similarities and differences (and usually the similarities are the most important) between them.
• Contrast: for a contrast, you take two things and look at them in opposition (so you are highlighting the differences).
• Discuss: this one requires you to create a debate (essentially a compare AND contrast).
• Evaluate: Here, the instructor is asking you to give your opinion, to use the opinions of others to justify your argument, and to include evidence to support your position.
• Analyse: for an analysis, you require an argument/position. From there, break this argument down into smaller parts and discuss or interpret each one. Your instructor may also write ‘critically analyse’ which means that you need to provide evidence from scholarly sources.
• Summarise: in this case you would need to take a bigger argument and narrow it down, excluding many of the details. You might also include important conclusions that have been documented.
• Interpret: you need to explain the meaning. This is done by giving examples and describing relationships.

As you can see, the words that an instructor uses can signal to you, as the student, what you are supposed to do. If you miss these keywords or phrases because you did not read the full instructions, you are putting yourself at a disadvantage. So be diligent and remain focused while reading.

Creating a mind map or outline

Once you understand the question, jumping straight into writing might be appealing, but this isn’t necessarily best approach.

Try to spend at least a few minutes planning what you want to write. This will actually speed up your writing process once you start to write your exam essay. While you certainly don’t want to spend a whole bunch of time planning every last detail, writing a brief but focused essay plan will save you time thinking once you’ve started writing, and will also make sure, right from the beginning, that all your paragraphs are answering the exam question.

There are two main essay exam strategies for brainstorming. One involves a ‘mind map’, also called a spider web, and it looks something like this:

In the mind map process, you put your main idea (thesis statement, argument, position) in the centre of the diagram. The branches that extend from this main idea become your paragraph topics and then the furthest branches become some examples or evidence that you might like to include. This creates a very visual image of how your writing fits together.

Another option is to create a linear outline. In this strategy, you create a skeleton for what will become your essay. It looks something like this:

In the above example, the bolded text is the headings for your paragraphs, the pieces of information below are examples that you might like to use in each paragraph. This is a useful structure because it simply allows you to fill in the blanks as you go along.

Remember that when you begin to write, there is no rule that says you have to start at the beginning. One essay exam strategy is to start with the paragraphs that you think are the easiest (which might be somewhere in the middle). Just because the reader will read the introduction first, does not mean that you have to write it first. Sometimes writing the introduction and the conclusion last means that you can go back and make sure that they ‘match each other’ and that they fully address the question being asked.

Timing it right

There is nothing worse than realising halfway through the exam that you are running short on time, and so you may be asking yourself how to write essays faster in exams. The easiest answer is to have a plan for how to answer essay questions in an exam setting!

By this point, you will have created a brief mind map or outline as one of your essay exam strategies. Now, set yourself a realistic goal for each paragraph. If you know that you have allotted yourself 10 minutes per paragraph, try your best to stick to this model.

Remember, it is better to write organised paragraphs that are easy to read, rather than to input a whole bunch of information in an illogical way. There is likely a clock on your computer (or in your study area), so make sure that you can easily glance at the time and remain on track.

In addition, while time is important, it is also worth practicing your typing skills. If you can improve your accuracy and speed, you are going to have more time to get your ideas written out. This, however, should be seen as a long term goal, and something you can work on over the course of your degree.

Writing each paragraph

A paragraph is a series of moves. Following the same format for each paragraph not only makes it easy for you to create, but it simplifies the reading process for the marker. This is a win-win situation!

Now, you might be thinking, ‘there are many ways to write an essay’, and you would be correct. But, taking the time to be really creative in your essay writing is probably not the best strategy because it will take too much time.

A typical paragraph structure looks like this:

As you can see from the above list, your paragraph is going to need about 6-8 sentences to be complete. If you follow this model, it makes it easy to go back and check that all your ideas have all the right elements included within them.

Reviewing, editing and proofreading

It may be tempting to write the last word of the conclusion and hit the submit button. You have worked hard up to this point and you likely just want to be done with the test. Resisting that urge, however, is a wise decision. If you happen to have leftover time at the end of your essay exam, spend that time reviewing what you have written and making sure that you are not losing marks for silly mistakes.

First, go back to the instructions and identify areas of your essay that directly match up with the question prompts – this will ensure that you have met the assignment instructions.

The next step is proofreading for silly errors. One of the nice things about having an essay-based exam at home is that you can read out loud and no one around you will judge you (except maybe your cat, but that’s okay). Reading aloud will help you to identify run-on sentences and any places that need a comma or full-stop. If you are out of breath and you have not finished reading your sentence, it is probably too long.

Reading out loud will also help you to identify awkward phrases, and places where you have used the same word multiple times in a row. Taking the time to do this may grant you an extra one or two marks, which can be the difference between an upper second and a first.

We know that it can be difficult to figure out how best to prepare and revise for essay-based exams, but if you put in the work, you can be sure that come exam day you are ready and able to achieve success.

It may seem overwhelming on the day, but the reality is that the exam will be over in no time and you will be ready to move on to bigger and better things. Remember, ten years from now, you are unlikely to remember this event, so try not to stress about it in the present.

After the exam is finished, take some time to breathe. Step away from the computer and spend some time doing something that you enjoy. You worked hard in the essay exam preparation, and now you get to relax! Give yourself a pat on the back, and credit for all that you have achieved.

Maintaining a positive attitude is a key component of essay writing and for college/university in general. Be confident, you are ready!

Essay exams: how to answer ‘To what extent…’

How to write a master’s essay

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5 Ideas For Writing Tests to Give Content Writers

No single job interview question can differentiate good writers from bad. Writing tests can show which candidates have the right skills.

The difference between a good writer and a bad writer is enormous. Good writers are agile, quick idea machines who can turn out insightful copy at a reliable pace, while bad writers often offer murky, confusing copy inconsistently. To make sure that you're choosing the right writers for the job, you should consider creating a creative test for prospective members of your writing team. Here are several items you could include on such a test to find the best.

1. Writing Prompt

Create a sample task similar to the type of writing you expect. Ask writers to write 300-500 words in response. Make your guidelines similar to those for real tasks so that you can see how writers would respond on the job. For example, If you expect quotes from sources to be integrated into your content, include a few quotes in your sample prompt that writers must use in their response.

2. Create a Google Scavenger Hunt

If you'll need writers to do web research, you'll want to test their research skills. One way to approach this is to create a scavenger hunt. Give writers a list of five to ten questions that they'll have to answer from general research. This will also show you what the writer considers to be a credible source.

3. What's Wrong With This?

Ask each writer to edit a sample piece of writing. This test shows the writer's awareness of common errors -- mistakes they're likely to make, or avoid -- in their own writing. See also: What Makes a Good Editor? Some Insights from Our Editor Test

4. Fill In The Blank

Make sure writers know the difference between commonly mixed up words like "your" and "you're" with a fill-in-the-blank test. Give the writers 5-10 sentences, with each sentence containing two blank spaces and a pair of commonly confused words. Score writers on their ability to match the right word with the right blank. This exercise demonstrates that your writers won't make these kinds of mistakes.

5. Ask Writers to Rewrite Headlines

Writing short, attention-grabbing headlines is vital skill for content writers. Provide your prospective writers with five to 10 clunky, long or uninteresting headlines and ask them to rewrite them. Provide a variety of sample headlines for your writers to work with. For example, make some headlines too long, others wordy and still others awkward sounding. That way, you can test your writers' headline writing skills and make sure they know all basic techniques of writing strong headlines. See also: Three Rules to Follow For Good Headline Writing Before hiring a content writer , you need to make sure he or she can deliver the quality content you need in a timely manner. Use some or all of these techniques to get an idea of how a potential candidate would behave on-the-job.

To Read More About Managing Writers See Below:

7 Signs that You Need More Writers (check link!)

Signs Your Content Writer Is Floundering

5 Questions to Ask Your Content Writer Before You Hire Them

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11 plus creative writing

By Atom | Jun 3, 2024, 3:35 PM

If your child is preparing for secondary school entrance exams, you may have heard conflicting information about whether there will be a creative writing task. Read on to find out:

what to expect from 11 plus creative writing exams

how to help your child prepare

which schools will require your child to do a creative writing test

What is 11 plus creative writing?

Children applying for 11 plus entry to selective schools may need to complete a creative writing task as part of the exam. The task could be to write an original short story or continue a story from a given text.

The main 11 plus exam boards ( GL Assessment and the Independent Schools Examinations Board (ISEB) ) do not include creative writing tasks in their tests. If a school includes a creative writing element, it has likely been set by the school itself.

Some grammar schools include creative writing as part of their 11 plus exams. We've included a list of these below.

Many independent senior schools include creative writing tests in their English exams. You can find out whether your child's target school includes creative writing in the entrance exam by visiting the 'admissions' page on the school website.

Free creative writing course

Improve your child's writing skills with Atom's free creative writing course. Get four free video lessons and downloadable resources (including a creative writing practice paper!) sent straight to your inbox.

Which grammar schools use creative writing exams?

Children applying to Reading School take an 11 plus exam set by Future Stories Community Enterprise . This includes a creative writing task.

What are common 11 plus creative writing themes?

The content and format of 11 plus creative writing tests can vary depending on the school. Some tests might ask your child to:

continue a short story based a paragraph of narrative text

describe a place or a situation

write a letter or an article to persuade the reader to feel a certain way

write their own short story based on some bullet points for guidance

write their own descriptive or narrative piece based on a picture

Getting used to writing for different audiences and purposes can put your child in good stead for 11 plus creative writing exams. Why not download Atom's creative writing prompts to get started?

What are examiners looking for?

Creative writing is subjective. After all, everyone has different interests when it comes to reading for pleasure! However, there are specific things examiners are looking for when marking 11 plus creative writing papers. These include:

Structure – does the piece have a clear beginning, middle and ending?

Creativity – has your child introduced unique ideas and demonstrated a strong imagination?

Spelling, punctuation and grammar – are they all accurate, and have they made use of sentence variety?

Vocabulary – have they used more advanced vocabulary (while making sense in context) than others their age? Have they introduced a wide range of adjectives, nouns and adverbs?

How to prepare for 11 plus creative writing tests

Developing creative writing skills can be one of the most challenging parts of preparing for exams. Here are our top tips to help your child become a confident writer!

Developing a wide and varied vocabulary is key for children to produce an interesting piece of writing. Including lots of adjectives and adverts is one of the best ways to grab a reader's attention.

We recommend that your child keeps a vocabulary log . As they read, they should record any new words with their definition and an example of the word used in a sentence.

In 11 plus exams, creative writing tasks usually last around 30 minutes (although this can vary from school to school). This isn't very long to produce an extended piece of writing – including planning time!

While it can be tempting to skip planning and start writing immediately, this will result in an unstructured piece of writing. As examiners are looking for evidence of a clear structure, your child may lose important marks.

We always recommend spending at least 5 minutes planning at the beginning of any creative writing exam. Your child should use this time to define what they will include in the beginning , middle and end of their piece.

Spelling, punctuation and grammar

Creative writing marks are not only awarded for content and creativity, but also for accurate spelling, punctuation and grammar. Your child can practise these topics on Atom Home .

Your child's learning plan includes questions and activities in Key Stage 2 English. These adapt to their performance, so they'll see questions at just the right level of difficulty to keep them motivated. On your 'Track' page, you can see how your child is progressing and any topics which need improvement.

One of the most effective ways to improve writing is through reading . Reading is a fantastic way to introduce your child to new vocabulary, as well as accurate grammar and punctuation. Reading a wide variety of content and genres will expose them to new writing styles and ideas that they can incorporate into their work.

If your child enjoys a particular book, ask them why they like it. Is it the vivid character descriptions, use of adjectives, or adventurous plot? This can help your child recognise what to include in their own writing.

You can use prediction and storytelling games to help develop your child's creativity. Once they reach the end of a chapter, get them to write a paragraph on what they think will happen next. If they didn't like the end of a story, they can have a go at writing an alternative ending.

Looking for reading inspiration? Download Atom's free Key Stage 2 recommended reading list .

Tailored 11 plus preparation

Wish you could give your child a roadmap to success in their entrance exams? You can. Atom Home has everything you need to get prepared, in one package.

You don't need a tutor to get into your top-choice school. You just need Atom. We'll create a tailored plan for your child and support them along their fun revision journey.

Weekly learning plans for your target school's entrance exam

Online mock tests and printable 11+ practice papers

English, maths, verbal reasoning and non-verbal reasoning

90,000+ adaptive questions and 500+ hours of video lessons

Automatic marking and instant progress data

Navigate entrance exams with confidence.

Start your free trial today. We'll get to work on your child's bespoke plan. Relax – exam prep is sorted.

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Writing: The Exam Revision

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Functional skills english level 2 practice papers, functional skills english level 2 pocket revision guide, functional skills english level 2 revision cards, filter by level, filter by exam board, writing: the exam.

You will need to understand what you will encounter in the exam.

This page will leave you feeling more prepared about the writing section!

You may be provided with a word count for each of the tasks.

The word count gives you a rough estimate of how much writing is expected for each question.

The time allowed on the front of the paper will also give you an estimate of the time you need to put in to each task.

For each task, there will also be an allocated set of marks :

• The marks hint at the amount of information needed in your answer.
• For example, if the question is 3 marks , usually 3 bits of information are needed.

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Our Facebook page can put you in touch with other students of your course for revision and community support. Alternatively, you can find us on Instagram or TikTok where we're always sharing revision tips for all our courses.

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Preparation

Planning will enable you to prepare your answer effectively. You can do this by writing down some notes in bullet point form.

This will enable your answer to have a clear structure (a beginning, middle and end).

A plan should be for rough notes only – so don’t spend too long on it!

Read the question carefully and multiple times . It may help to highlight key words in the question to answer it fully!

Writing Effectively and Clearly

Look for any mistakes on spelling or grammar. Also the clarity of writing – make sure it can be understood. These areas make up 40% of the mark !

Use full sentences and paragraphs

Make sure that you answer the full question

Read through your answer to make sure it has a logical flow and that the points you have made add up and make sense

Checking your answer is helpful to ensure you are writing clearly and effectively.

Check that you have:

• Answered both questions in the paper
• Used different sentence types
• Used an appropriate amount of detail

Sophisticated Vocabulary Phrases

Using sophisticated vocabulary in your exam will help you to communicate effectively.

For contrast :

• (Something) differs from/contrasts with (something else)

For similarities :

• (Something) is similar to/is comparable to (something else)
• Similarly/Likewise/In the same way

For patterns :

• What is striking/What stands out/What can be seen clearly is…

For cause and effect :

• (Something) may cause/can lead to/ can result in…
• Resulting from/Stemming from…
• Thereby, therefore, consequently, because of this

For moving on :

• In this next section/I will continue/In the section that follows…
• As explained earlier/As previously stated/As I mentioned earlier/As was pointed out…
• Turning to/Moving on now to consider/Before thinking about (something), it is important to think about/Having discussed (something), I will now talk about…

For beginning :

• I will argue that/discuss/analyse/explore/assess…

For discussing a source :

• The writer highlights/mentions/questions whether/draws our attention to…

For concluding :

• Overall/Considering all of this evidence/Taken together/Collectively…

Example: Question

”You recently went on a school trip to a theme park . The head of year has asked you to write a review of the day out which will be published in the school newsletter.

In your review , you should :

• Say what you liked or disliked about the trip
• Say how and why the trip could have been improved
• Explain whether you should go back to the theme park or go somewhere different for the next school trip

Aim to write about 250 to 300 words (Level 2)

Aim to write about 200 to 250 words (Level 1) 

Example: Answer

Example : Analysis of Answer

• Clear structure

Paragraphs about each bullet point in the same order

• Correct punctuation

Use of commas, exclamation marks, colons, full stops, full sentences

• Good use of connectives and organisational markers

‘consequently’, ‘however’, ‘therefore’

Between the suggested amount

• Lots of sentence types
• Wide range of tenses

present (‘I believe’), past (‘I enjoyed’ + more) and future (‘I will be able to’ + more)

• Writing is easy to follow and reads well
• Writing is relevant to the question

Covers each bullet point adequately

Additional Resources

Exam tips cheat sheet, writing: the exam worksheet and example questions.

Writing: The Exam L2

Writing: the exam l1.

This comprehensive set of 10 Functional Skills English Level 2 Practice Papers (5 reading papers + 5 writing) is a great way to revise for your upcoming reading and writing exams. These papers have been specifically tailored to match the structure, format and question types used by each of the main exam boards for functional skills English.

Revise and practice for your functional skills English level 2 exam. All topics covered in this compact revision guide.

Revise for functional skills English level 2, with these English level 2 fundamentals revision cards. Covering the building blocks of the essential areas of the level 2 exam.

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