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Essay Samples on Ransom

Ransom is a thrilling novel written by Australian author, Markus Zusak. Writing an essay on Ransom requires a deep understanding of its themes and characters. It’s an opportunity for students to showcase their analytical skills and share their perspectives on the book. The essay typically discusses the themes of grief, loss, and redemption.

When writing a Ransom essay, it is essential to showcase how the themes are portrayed in the book. You can start by outlining how the characters deal with grief and loss and the impact it has on their lives. You can also highlight how the characters find redemption in their actions and the choices they make.

Ransom essay examples could include a character analysis of Priam, the protagonist of the novel, and his transformation throughout the book. It could also be an analysis of the book’s themes and how they are used to shape the narrative. In contrast, an essay on Ransom could explore the author’s writing style and how it contributes to the overall message of the book.

There are many topics to choose from when writing a Ransom essay. Some possible topics include the role of fate in the book, the importance of forgiveness, or the portrayal of death and the afterlife. You can also discuss the historical context of the Trojan War and how it is used in the novel.

With the examples of Ransom essays and various essay topics and samples, you can develop a comprehensive understanding of the novel and write a compelling essay. Use WritingBros write your perfect essay about Ransom.

The Inevitable Conflict Between Private and Public Personas

The inevitable conflict between private and public personas is explored through King Priam of David Malouf’s Ransom and Queen Elizabeth II of Stephen Frears’ film, The Queen. Priam deals with the brutal murder of his son, Hector, and must watch his son’s body be brutally mutilated daily but...

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Comparison Of Malouf'S Ransom And Eastwood'S Invictus

Both texts suggest that the power to change comes in many possible ways. In Malouf’s Ransom, Priam is a “ceremonial figure” and relies mostly on traditions and emotional dissonance to exert his leadership, as showcased through his unfamiliarity to the many “deprivations and shortages” of...

Revenge'S Futility In "Ransom" And "Invictus"

The novel “Ransom” by David Malouf and the new age film “Invictus” directed by Clint Eastwood both echo the futile nature of revenge while focussing on and expressing the power that mercy possesses in the struggle to create peace and eventually accomplish unity. Malouf’s reinvention...

Common Themes in Ransom and the Movie Invictus

Composed as a literary novel that narrates through a legend of redemption and inscribed in the context of Ancient Troy is “Ransom” by David Malouf, which unravels how changes come to the reception of individuals in worlds. Such can also be said of the film...

• Literature Review

The Use of Characterisation to Inspire Readers in Ransom and Beowulf

Through the use of characterisation, the true identities and traits of characters are able to be revealed to readers, particularly when viewed through qualities such as leadership. Collectively, this leads to narrative meaning becoming a tool that initiates thinking through the use of emotive language...

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Best topics on Ransom

1. The Inevitable Conflict Between Private and Public Personas

2. Comparison Of Malouf’S Ransom And Eastwood’S Invictus

3. Revenge’S Futility In “Ransom” And “Invictus”

4. Common Themes in Ransom and the Movie Invictus

5. The Use of Characterisation to Inspire Readers in Ransom and Beowulf

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Essays on Ransom

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The Peculiarities of Narration and Narrative in Ransom

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Comparison of David Malouf’s Ransom and Clint Eastwood’s Invictus

Analysis of character depiction in ransom and beowulf, "ransom" and "the queen": a comparative exploration, relevant topics.

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Paris Olympics closing ceremony means America is next. And IOC, I have questions.

Los angeles is up next as host of the 2028 summer games. how will la beat the paris olympics' opening ceremony.

As with the Olympic opening ceremony , my three-generation family will be watching Sunday's closing ceremony . Like millions of our fellow earthlings, we've been glued to our screens on all platforms for so much of the Summer Games in the past two weeks that I wouldn't dream of missing the finale.

My family will remember the Paris Olympics for so many viral moments, including:

• The already most-decorated-gymnast Simone Biles , 27, winning four more medals for Team USA.
• How swimmer Katie Ledecky , 27, became the most decorated American female Olympian of all time with 14 medals.
• Jerome Brouillet's photo of Brazilian surfer Gabriel Medina , 30, and his board levitating above the ocean as he earned a near-perfect 10.
• French pole vaulter Anthony Ammirati , 21, gaining followers because, as he posted on TikTok after his crotch knocked down the crossbar, "You create more buzz for your package than your performances."
• Zeng Zhiying, a 58-year-old table tennis player who missed out on being selected to represent China in Los Angeles in 1984 but in Paris represented Chile. Her Olympic debut at our age was heavenly.  

A much more down-to-earth feat, though, will be what sticks with me after the 2024 Summer Games. It's also what brought a few questions to mind.

'I don't believe it. I'm scoring at least once.' The Olympics table tennis moment we need to know more about.

On opening ceremony evening July 26, NBA international superstar Steph Curry swapped Olympic pins with as-yet-unknown Olympians like a giddy kid at summer camp. When he realized he had just met the U.S. women's table tennis team, Curry brought the star-struck Asian Americans to where his mostly African American basketball teammates were hanging out and goaded Anthony Edwards , who prides himself on excelling in many sports, that these seemingly demure ladies could shut him up.

Friendly trash talk followed, with the 23-year-old Minnesota Timberwolves guard Edwards saying, "I don't believe it. I'm scoring at least once," and the 28-year-old Olympic veteran Lily Zhang smilingly responding , "There's only one way to try it out."

Olympic boxers deserve compassion: But questions of fairness shouldn't be brushed aside.

I instantly followed @usabasketball and @usatabletennis_ on Instagram, but so far, there's been no word of this match that so many on social media have demanded. This sparked the first of several questions I have for Olympians as well as Olympic organizers:

When can we see Ant play Ping-Pong with Lily? It's heartwarming that Edwards showed up to cheer Zhang on as she advanced to the round of 16. And bravo that his team invited her squad to basketball practice , where they traded souvenirs and autographs. But the U.S. Major League Table Tennis could use the help of NBA gods to gain support. Take pity on us mere mortals and hold an exhibition.

Where's Russian figure skater Kamila Valieva? In February 2022, during the Beijing Winter Games, I wrote a column saying, " I have never wanted a 15-year-old to fail so much in my life . But when (Valieva) executed her short program ... that's exactly what her team's handling of her positive drug test had reduced me to – a spiteful fan who loved her during the pre-Olympics competitions but now feels betrayed. ... Russia grabbed gold, the USA earned silver and Japan won bronze."

Olympics diversity: Would you call Olympic gold medalists Simone Biles or Suni Lee a 'DEI hire'?

As USA TODAY Sports columnist Christine Brennan wrote this past week: " The Russian scandal ... forced the original medal ceremony to be canceled and triggered an infuriating series of international delays and appeals, finally ending with a Court of Arbitration for Sport (CAS) ruling less than two weeks ago." On Wednesday, the 2022 U.S. Olympic figure skating team ‒ including "Rocketman" Nathan Chen ‒ finally got their gold medals and the Japanese skaters got their silver, all surrounded by their loved ones at the foot of the Eiffel Tower.

But what about Valieva? Now two years older but still a teenager, did she watch the medal ceremony somewhere? What is she up to? Who does she blame for losing gold?

Olympics gender equality vs. gender-blind sports

How long before gender-parity Olympics lead to gender-neutral Games? Paris witnessed the first-ever Olympics to reach  gender parity . In 2016, as the Summer Games wrapped up in Rio de Janeiro, I co-wrote an editorial advocating, " Let men and women compete head-to-head in shooting ."

Josh Rivera and I reasoned: "For decades, men and women shooters competed against each other in international events. At the 1976 Olympics in Montreal, American  Margaret Thompson Murdock tied for first with teammate Lanny Bassham in the small-bore rifle competition. After the judges examined the targets, they awarded the gold medal to the man and the silver to the woman. To Bassham’s credit, he asked Murdock to share the top podium with him as the national anthem played.

"After that, the International Olympic Committee phased out mixed-gender shooting and created events just for women. Yet in the 21st century, shooting remains one of the  few collegiate sports that’s gender blind ‒ and in which women are highly competitive. It’s time to take a fresh look at which sports lend themselves to head-to-head competition, regardless of gender."

Opinion alerts: Get columns from your favorite columnists + expert analysis on top issues, delivered straight to your device through the USA TODAY app. Don't have the app? Download it for free from your app store .

Equestrian remains the only Olympic sport that's gender neutral . So our editorial question from eight years ago still stands: "If the horse doesn’t care who’s handling it, why should a gun?"

How will Los Angeles beat the Paris Olympics' opening ceremony? I can't wait to see how Sunday's closing ceremony will compare with the opening ceremony's historic parade of nations on boats down the River Seine. But L.A. holds the next Summer Games. How do you top the Eiffel Tower? Traditionally, at a closing ceremony, the next Olympic host also puts on a show to tease coming attractions. There are rumors that Tom Cruise, who's been prominently attending numerous Olympic events around Paris, will execute some wild stunt .

Hollywood, bring it.

Thuan Le Elston, a  USA TODAY Opinion  editor, is the author of " Rendezvous at the Altar: From Vietnam to Virginia ."

You can read diverse opinions from our USA TODAY columnists and other writers on the Opinion front page , on X, formerly Twitter, @usatodayopinion and in our Opinion newsletter .

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Ransom and The Queen: Comparative Essay Topic Breakdown

June 22, 2021

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

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!

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• Learn unique points of comparison through LSG's CONVERGENT and DIVERGENT strategy and stand out from the rest of the Victorian cohort
• Sample A+ essays, with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+
• How to think like a 50 study scorer through advanced discussions like literary and cinematic techniques, views and values and context.

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

EAL Language Analysis Introductions

Both EAL and mainstream English students will need to complete a Language Analysis task as part of the VCAA Exam. The introduction of Language Analysis essays for VCE English is somewhat rigid as there are multiple components that must be included, for instance: issue, form, contention, name, publishing date, tone, etc. However, many of the ‘must have’ components of mainstream English essays are not required for EAL students or the EAL end-of-year examination. Check with your school/teacher to find out their opinion and criteria on this matter though, as they mark your internal assessments/Language Analysis SAC!

The 2019 VCE English as an Additional Language Examination Report states: 

‘Introductions should be limited to showing an awareness of the audience, the context and the overall contention of the piece.’

With this guideline in mind, the advice I am sharing in this blog post is based on the understanding and assumption that EAL Language Analysis introductions DO NOT need background information such as where the article is published, when is it published, style, etc. But again, make sure you check with your school/teacher to find out exactly what criteria YOU need to meet for your assessments/SACs that are marked internally. 

Using Templates in Your EAL Language Analysis Introductions

Since EAL is more flexible than mainstream English, and requires fewer elements, you can adopt a template for introductions that you are comfortable using to save time during the assessments. 

For example, these sentence templates below are really versatile and can be easily adapted and/or combined to suit your essay: 

• In response to the divisive issue of…(AUTHOR 1) implicitly/explicitly/inadvertently contends that…
• (AUTHOR 1) takes on a...tone to grab the attention of...(SPECIFIC AUDIENCE)
• Similarly/contrastingly,...,(AUTHOR 2) implicitly/explicitly/inadvertently contends that...in a...tone.

Using the templates above, here are some examples of what the final product for your introduction may look like. I have bolded the ‘template’ parts so that you can see exactly how the templates have been used, but remember these are just templates, so you can adjust the wording slightly to suit your needs:

And if you want to learn more about tones, head to 195 Language Analysis Tones .

Example 1 (Using Templates 1 & 3)

(1) In response to the divisive issue of building an Apple global flagship store at Federation Square, the COMAAFS implicitly contends in an accusatory and defiant tone that the flagship store should not be built to replace one of Melbourne’s most popular landmarks. (3) Contrastingly , the web post written by the Victorian Government explicitly rejects the accusation from COMAAFS and advocates for the immense benefits that Victorians will receive from the Flagship store in an explanatory and reassuring tone .

Example 2 (Using Templates 1 & 3)

(1) In response to the divisive issue of homeless people camping in the city of Melbourne, Christopher Bantick contends in an accusatory and heated tone that the ‘move-on’ law must be introduced in order to remove the homeless in Melbourne. (3) Contrastingly , Dr. Meg Mundell insists that making it illegal to sleep on the street will only exacerbate the problem in a demanding tone .  

Example 3 (Using Templates 1 & 3)

(1) In response to the recent furore of the increasing use of cars, Tina Fanning contends in an alarming and mobilising tone that cars are no longer a viable mode of transport in the foreseeable future. (3) Similarly, Lucy Manne predicts the catastrophic consequence of excessive car use on Australian society in a composed and authoritative tone .

If you want to take your introduction to the next level, see The Importance of the Introduction for tips!

Comparison of Arguments & Contentions in EAL Language Analysis

Unlike mainstream English, comparison of arguments/contention between the two writers is not essential for EAL, but it will probably earn you bonus brownie points if you do have time to add it in your essay :) For further explanation on comparative analysis, you can refer to this step-by-step guide: Exploring an A+ Language Analysis Essay Comparing Two Articles . Although the guide is aimed at mainstream English students, you can still apply some of the tips and strategies as an EAL student. It will really help to take your Language Analysis to the next level!

Plans are one of the most ignored (and underestimated) steps in the essay writing process. Some people don’t do them simply because they don’t want to, some sacrifice them because they think they’ll run out of time, and some do ‘plans’, but in reality, they’re only a rough mental outline. Each of these situations place too many students time and time again in sticky situations come an English SAC or exam.

Why plans are essential for any good essay

• They ensure that you can’t mind blank — it’s all on the paper in front of you!
• They ensure that you always stay on topic.

Mental plans or not having a plan at all mean that you don’t have a true direction in which your essay is going. If you’re not sure where you’re going, well, how are you going to get anywhere?

They save you time in writing time.  

Instead of wasting reading time, you’ve done most of your thinking right at the beginning of the SAC or exam, positioning you to do really well in your essay because you can focus on constructing some really juicy, coherent analysis in your body paragraphs, rather than remembering your basic points and/or making sure your essay is actually answering the question.

Let’s have a look at an essay topic that I’ve tackled in the past. This one is based on Kate Grenville’s The Lieutenant , a current VCE Year 12 English text. To learn more about themes, quotes, characters about this text, and to have a look at an essay topic breakdown, check out this blog post written by outstanding LSG tutor, Angelina !

“But a man could not travel along two different paths.” How does Grenville explore Rooke’s conflict of conscience in The Lieutenant ?

Step 1: Highlight key words

Now, it may seem like I've just highlighted the whole prompt, and I understand why you might think that! However, each of the words highlighted convey something meaningful within the prompt. If you're ever unsure about what could be considered a key word, consider whether the prompt would have the same meaning without the word in question.

Step 2: Define key words

In this topic, the main phrase that needs defining is ‘conflict of conscience’. For me, this signals that we must consider morality and the weighing up of right and wrong, especially when tough decisions have to be made.

I’d also take a moment to analyse the quote. This essay prompt is quote-based, so it’s imperative that we discuss the quote and consider the meaning of the quote throughout our essay. For some more detailed info on how to tackle different types of essay prompts, check out this blog post.

Step 3: Start essay plan

Next, I’d start tackling the plan itself. Although it seems like the above steps would take a while, my real-life planning process only takes about 5 minutes. You certainly don’t have to write everything down and you certainly don’t have to make it make sense to anyone but yourself.

Personally, I like to format my plans in dot-point form. I write 1, 2, 3 for each of my body paragraphs and I leave a space underneath each so I can plan each paragraph.

First, I’ll just write rough topic sentences under each, so I can really step back and consider whether my plan of action for the essay’s body paragraphs will do a good job at answering the prompt itself. Again, these are only rough topic sentences — fancying them up will come during the essay writing phase.

Step 4: Important things to include in each paragraph

Once I’ve decided on what each of my body paragraphs will be about, I can them go into a bit more depth for each of them individually.

These are the elements that I include for each:

Essentially, the points that I’ll argue and the reasoning behind the paragraph

The evidence that I’ll be using to reinforce my point(s).

Literary devices/metalanguage

In Year 12, I made a conscious effort to include one literary device or metalanguage example per body paragraph in all of my English essays. This really set me apart from the rest of the state because, in reality, not enough students really focused on the language of their texts, which can really impress examiners.

Strategy: Colour-coded plans

For me, using different colours in my plans helped me organise my thoughts, distinguish between them, and ensure that I had covered everything that I wanted to cover.

Obviously, you can come up with a colour system that works for you, but this is what I came up with:

• Green = metalanguage
• Red = quotes
• Black/blue = everything else!

And that’s it — my four-step but five minute essay planning process. Don’t be afraid to modify this to make it work for you and your needs. However, definitely DO be afraid of not planning — it’s absolutely essential for any good essay.

Happy planning!

[Video Transcription]

Hey guys. I've been doing a load of essay topic breakdowns for you guys, and we've been looking at plans for them, so I thought I would actually show you how I actually do a real life plan, one that I would do on paper if I was preparing for a SAC or an exam, as opposed to the ones that I do on YouTube because the ones that I do on YouTube are slightly different. I definitely go into more detail than I normally would. But at the same time I still do use the same concepts as I would when I do read the steps on YouTube. So I'm going to go and show you that today. And before I actually do that, I just want to preface this and tell you guys why doing a plan is so important. So I know that a plan is something that one, a lot of people just don't do, or two, they tend to sacrifice it if they feel like they don't have enough time, or three, they do a plan in their head, but they don't actually write it down on paper. Now, all of these things are pretty detrimental for you, especially because when you write a plan, it actually helps to secure you and ensure that one, you're not going to mind blank throughout your essay or let me rephrase that, if you do mind blank throughout your essay, you will still have a piece of paper in front of you telling you, "This is what you were thinking Lisa, just go and follow this method or what you've written down here." So that way you don't just get stuck in the middle of your essay and start having a freak out because you've forgotten what you were supposed to write. Second thing is that it ensures that you don't go off topic. This is something that happens quite frequently. If you don't have a plan, then you have this idea of, "Oh, I'll write this and this", and then somehow halfway through an essay, halfway through a paragraph, you realize, "Holy crap, I have completely veered off the topic or this has gone completely in the other direction from what I intended. This is not what I wanted." So in order to prevent that from happening, just do a plan, please! You will find that it ends up saving you so much time and it just gives you that reassurance that you need in situations where there are so many unpredictable factors, like what prompts you're actually going to get. And your focus and attention should be more about developing those ideas, rather than having a mind blank in the middle of your essay and then having a little bit of a freakout as a result. So I'm going to base this video on a previous essay topic breakdown in the past, and that is on Kate Grenville's The Lieutenant. I was going to say Lieutenant, because I always accidentally say that, but no, it is Lieutenant. Now, if you are not doing as text as always, don't stress about it because what I want you to take away from this video is how you actually do plans, the thinking that goes behind it and the formatting around it. So let's just get started. The essay topic that we're doing today is, "But a man could not travel along two different paths." How does Grenville explore Rooke's conflict of conscience in The Lieutenant. So as always, my first step is I will highlight the keywords that I see inside the prompt. Keywords are different for everyone, but these are the ones that I think are most important. Firstly, the actual quote itself, how Grenville, conflict of conscience. Pretty much in this case I could probably just highlight the entire thing, but for the sake of just defining some keywords, this is what I would do. So the next step is to define key words. I think the only big key word that I need to define here is conflict of conscience. And so to me, the conflict of conscience suggests internal conflict, which implies that we'll need to consider morality and the concepts of right and wrong, especially when a difficult decision must be made and sides need to be taken. So as you can see, I've written these words down next to the keyword and that will just help me ensure that I stay on topic or I stay in tune with what the keyword is about and I don't suddenly change my mind halfway through the essay. Then what I'll do is, I will analyze the quote itself. So this is unique because this particular essay prompt has a quote inside it, but I'll have to think about, okay, where did I see this quote? Who might've said it and what might it mean? And I'll draw it down a few notes for that. Then I'll pretty much just go straight into my plan. Now, my plans I've written within five minutes, most of the thinking is actually done during reading time. So personally, I've always found that just writing dot points is completely fine. I don't need to go more beyond that. And I'll show you a few examples now of real life year essay plans that I did during that time. And as you can see, they are pretty much just scribbles and if anybody else was to look at my essay plans, they would have no idea what I'm talking about. But you know what, for me it makes complete sense and that's all that matters. You're not graded on your plan, so just go ahead and do it your way. You do you. So what I'll do is I'll quickly dot down one, two, three, and these represent my body paragraphs. Then I'll just write down very quickly what the topic sentences will be. I don't actually write the full topic sentence itself, but I guess the essence of it, so the key things that I will mention in the topic sentence. By writing down the three topic sentences, this allows me to take a step back and look at the essay holistically and ensure that I am answering it the way that I want to. Then what I'll do is I'll move into each individual body paragraph and write down some things that I think are important for me to remember when I go ahead and write it. So I might write down a couple of ideas that I think are important. I will write down quotes that I think are essential to my discussion. And then what I'll do is I will throw in at least one literary device or a metalanguage that I think is important to discuss. So in this case, in this first body paragraph, it's limited omniscient third person perspective. By throwing this in, I will ensure that I can show my examiner or show my teacher that I can go on that deeper level. I'll repeat this method with both paragraph two and three. Of course for you, you might need to write down more dot points. You can write fewer dot points, it's really just dependent on every individual. If you are somebody who needs to write down the quotes more, then go ahead and do that. But for me, a lot of the quotes will stick in my head. I just need one point just to bounce off, and then from there, I'm able to pull in all of the other quotes that are necessary. You also notice that I do things in different colors. Now, I think this is a strategy that I implemented in order to make things a lot clearer for myself before jumping into an essay. So for example, for anything that's a metalanguage based, I'll write it in green. The whole purpose for that is to ensure that in every single body paragraph, I do cover some form of a literary device because that was always really important for me. I thought that it was one of the key things that helped me differentiate myself from other students. So if I took a step back from the plan and I looked at it overall, I could see, okay, there's a green color in every single body paragraph, done. I have ticked off that criteria. I also used to write quotes in red as well. So red just helped me do the same thing. It helps me take a step back and go, "Yep, there's a bit of red in every single body paragraph. I'm definitely including quotes," which might sound pretty stupid, but it's just that little bit of reassurance that I think really makes that difference when it comes to a stressful situation. That's pretty much it. It's just five minutes of your time, so we probably don't need to go into it in too much more detail than that. But as you can see from my essay plans, I'm quite minimal. I just keep things as short as possible because that's all I really need because a lot of the information is here, but I just need to reinforce it and ensure that it is concrete when it is on paper. So for yourself, I would recommend that you start practicing your plans. You can try my method and see if that works for you, but over time, I'm sure that you'll come to find your own way of writing plans that work for you. Next week I'm going to have another essay topic breakdown for you. Can you guess what it might be? If you want to take a stab, put it in the comment section below, but that's it for me in this week guys. I hope that was helpful for you, and don't forget plans are crucial to an amazing essay. If you needed any extra help, then my mailing list is always available for you guys. I send out emails every single week just giving you new advice and tips for your studies, so I'll put that in the description box below for you to sign up. Other than that, I will talk to you guys next week. Bye!

We’ve explored themes, literary devices and characters and development amongst other things over on our After Darkness by Christine Piper blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out!

Here, we’ll be breaking down an After Darkness 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.

Let’s get into it!

The Prompt: 

‘While Ibaraki clearly suffers the consequences of his actions, it is those closest to him who pay the highest price. Discuss.’

Step 1: Analyse

This is a theme-based prompt, and the keywords are: suffer, consequence, actions and highest price . You want to explore both the evidence that supports the statement and also any evidence that may offer a contradiction to the statement. From here you can find the definition of the keywords to help develop some questions to explore.

To suffer is to be affected by or subject to something unpleasant. 

• Is Ibaraki the only one who suffers? Who else suffers? Kayoko, Johnny, Stan, Sister Bernice.
• How do characters deal with their suffering differently? Kayoko and Sister Bernice abandon their relationships with Ibaraki, Johnny becomes agitated and spiteful, Stan becomes depressed. 

A consequence is a result of an action. 

• Are the consequences negative or positive? Johnny being outspoken in the internment camp angers the traditionalist Japanese, but creates a sense of kinship amongst the half-blood Japanese. 
• Can characters overcome these consequences or learn from them? Ibaraki eventually learns from his mistakes and grows as a result. 

An action is the process of doing something, typically to achieve an aim. 

• Is it Ibaraki’s actions, or lack thereof that lead to consequences? It is often his silence and obedience that cause trouble. For example, not telling Kayoko about his work leads to the failure of their marriage.  
• Is it only Ibaraki who makes mistakes? Sister Bernice ignores her religion to confess her love for Ibaraki. 
• What are the factors that cause the characters to act in the way that they do? Ibaraki’s guilt and fear of authority and judgement prevent him from speaking up on multiple occasions.  

Highest price refers to Ibaraki’s suffering being above all else. 

• Is this true? Ibaraki loses his dignity, his friends, his wife, his unborn child, his family, his job and his freedom. However, he does partially regain these.  
• Who suffers the most? Kayoko has a miscarriage and her marriage to Ibaraki fails. Stan is assaulted by other internees and is eventually killed by a guard. Johnny becomes an outcast in his community and is bullied by other internees.  

At this point, you can begin to group your ideas and evidence from the text to support your claims.

Throughout the novel, Piper uses a variety of literary devices including dialogue, simile and foreshadowing to convey her message of every action having a consequence . The most prominent of these is her use of imagery and metaphor which she uses to illustrate Ibaraki’s guilt and the way it impacts his actions. However, the story is not only centred around Ibaraki. Piper also highlights that people will often face consequences no matter what decision they make. She does this through her use of foil characters (characters who are used to highlight a particular trait in another character). For example, Ibaraki’s fear and obedience are emphasised by the courage of Kayoko and Johnny Chang. These characters, alongside Ibaraki, face suffering as a result of their actions. 

From these ideas, the main themes I am going to explore are what factors affect the character’s actions, and how the consequences of these actions can lead to negative, but also positive change. 

Paragraph 1:

• Whilst the novel centres around Ibaraki’s actions and their consequences, he is not the only character that makes mistakes and is forced to face the repercussions.

Paragraph 2:

• It is not necessarily Ibaraki’s actions, but lack of action that often results in the suffering of those around him. Consider the reasons for his lack of action: his blind devotion to authority, his fear of judgement, his ongoing guilt and regret from previous situations.
• Ibaraki’s lack of action acts as a perpetuating factor for the suffering of those closest to him, but it is not the only factor.

Paragraph 3:

• Ibaraki may pay the highest price for his actions. The structure of the storyline to include a chapter from Ibaraki’s perspective years later indicates that these consequences have ultimately led to positive change.

Now it is time to write the essay!

Set during the Pacific War, Christine Piper’s After Darkness explores the difficulties and misfortunes many face during wartime. Depicting the rise and fall of Japan’s war efforts (1) , After Darkness highlights that all actions have consequences of varying severity, particularly those of protagonist Dr Ibaraki Tomokazu. Throughout the novel, Ibaraki’s lack of action perpetuates the suffering of those closest to him, however, this is shown to be one of many factors and often initiates positive change within him, allowing his character to develop. Fundamentally, After Darkness highlights that change can only occur if people face the repercussions of their actions. (2)

Annotations (1) In the introduction, it is important to introduce the text with context . As After Darkness is predominantly set in 1942 during wartime in both Japan and Australia, it is important to include this in the introduction in order to explore the essay topic with a complete understanding. 

(2) Another key part of the introduction is to briefly introduce the topics you will discuss throughout the essay.

Throughout the novel, Piper emphasises the idea that all actions have consequences, however, this idea is not limited to Ibaraki. Across the three novel strands, protagonist Dr Tomokazu Ibaraki’s suffering as a result of his mistakes is depicted through both his internal and external dialogue. Ibaraki makes many significant mistakes throughout his lifetime, one of these being his failure to perform a dissection of a child when working at Unit 731. Despite ‘not [being] [him]self’ (3) when asked to perform the operation, Ibaraki is promptly fired. His termination of employment is not the only consequence of his failure, as shame continues to take over his confidence. This is illustrated when he was ‘unable to go on’ during an operation in Broome, despite being in a completely different scenario. Through Ibaraki’s flashback of ‘Black dots on a child’s belly’, Piper indicates the torment and lasting effects of consequences on an individual (4) . Whilst the novel centres around his mistakes, it is revealed that Ibaraki is not the only character who is forced to face the repercussions of their actions. Despite acting as foils for Ibaraki and presenting many different qualities, Australian internees Johnny Chang and Stan Suzuki also struggle immensely to overcome the results of their behaviours. Johnny Chang’s outspoken nature is often shown to cause disruption among the camp, for example, labelling the imperialist Japanese as ‘emperor worshipping pig’s.’ In standing for his beliefs, Johnny creates a tense division within groups, leading to the half Australian internees being treated like ‘outcasts’. Conversely, Stan’s introverted behaviour results in his eventual death (5) . Piper’s contention that all actions have consequences is arguably enforced strongly through Stan’s death, as it results from the failure of many characters to act. Ibaraki’s inability to open up, Johnny’s selfishness and Stan’s loss of self are inevitably all factors leading to his eventual demise. This is ultimately reinforced when Johnny states ‘It should’ve been me Doc’, indicating he has finally realised his role in the tragedy.

Annotations (3) In order to embed quotes , words, prefixes and suffixes can be added to ensure the sentence flows correctly. However, you must indicate that you have edited the quote by placing your changes in square brackets. Here, the original quote was ‘not myself’ but it has been changed to fit the sentence. 

(4) Whilst it is important to include quotes, it is even more important that you analyse how the author uses the quote to convey a message. In this case, the example of one of Ibaraki’s many flashbacks is used to bear Piper’s belief that one cannot escape the repercussions of their actions.

(5) Comparison is a powerful way of exploring the author’s ideas throughout the text. Here, Johnny’s outspoken nature is contrasted with Stan’s ‘introverted behaviour’, yet both concede repercussions. This supports the idea that all actions have consequences, no matter their nature.

Ibaraki’s lack of action acts as a perpetuating factor for the suffering of those closest to him, however, it is not the only factor. After Darkness shows the faults in many of Ibaraki’s actions, suggesting his mistakes lead to the misfortunes of many of those around him but this is only partially true. Stan Suzuki’s death is a pivotal moment in the novel where Ibaraki begins to truly express his emotions and open up about the pain he feels (6). Ibaraki realises that he ‘could have done something’ when opening up to the investigators of Stan’s death, leading to the conclusion that Ibaraki is to blame. Piper illustrates that suffering results as a combination of factors through the later revelations of Johnny’s escape attempt and the instability of the ‘trigger-happy’ guard who shot Stan. This idea is reinforced through the breakdowns of Ibaraki’s close relationships with Kayoko and Sister Bernice. Whilst Ibaraki’s emotionally distant nature catalysed the loss of these significant relationships, it was not the only factor. Both Kayoko and Sister Bernice are structured with similar characteristics in the novel, one being their confidence and strength in their beliefs. Nevertheless, both women lack this characteristic when it comes to their relationship with Ibaraki (7) . Ibaraki admits his separation from Kayoko is his ‘greatest regret’, and whilst the first-person perspective does not give an insight into Kayoko’s side, she is shown to lack her usual self-assuredness. Similarly, Ibaraki’s allowance of ‘silence [to] stretch between…’ him and Sister Bernice is hurtful and a failure on his behalf, yet she still willingly confesses her feelings, aware of the risks involved. This is evident when ‘her eyes dart away from [his]’, implying she is ashamed of her statement as it contradicts her religion and the terms of their work relationship and friendship. This results in an abrupt end to their friendship as the embarrassment of the repercussions of her actions overwhelm Sister Bernice. Whilst the series of mistakes that Ibaraki makes throughout the novel show that his actions cause grief for both him and the people around him, they also highlight that the misfortune of others is not always the fault of one individual.

Annotations (6) Referring to specific events in the text is extremely useful to support your ideas and claims. However, it is important that you avoid over-explaining the event, as this will lead to you retelling , rather than analysing the text. See How To Avoid Retelling the Story for more tips. 

(7) An often-overlooked literary device is the use of foils . A foil is a character that is used to highlight a particular trait in another character, often a flaw. In this case, Piper uses the similarities between Kayoko and Sister Bernice, and the ultimate failure of their relationships. This highlights Ibaraki’s repetition of his mistakes, which we can attribute to his ongoing guilt. 

Ibaraki ultimately pays the highest price for his actions; although this is shown to result in positive change. Through her descriptions of Australia and Japan, Piper uses the juxtaposition of light and dark imagery to illustrate how suffering can lead to learning and growth. Facing racism in Broome when labelled as a ‘Bloody Jap…’, trauma from his experiences in Unit 731 and hardship during his internment at Loveday, Ibaraki is constantly a victim of circumstance. Even so, the pressures and torment of these events force him to seek the support of others. The colourful descriptions of the ‘pink spur of land crested with green’ foreshadow the positive change to come for Ibaraki (8) . This becomes evident when Ibaraki finally opens up to Stan in the infirmary about his separation from Kayoko. Ibaraki’s development as a character continues as he learns to trust despite the unfair circumstances of being interned. Although memories of trees haunting the river’s edge ‘like lost people’ and the bark of red trees appearing ‘like blistered skin’ continue to plague Ibaraki’s conscience, they force him to confront his past and in turn begin to heal. Through the retrospective novel, Piper describes Japan as where ‘darkness crowded the corners’ and Ibaraki worked ‘in the basement’, indicating his misguided obedience and attachment to silence. This not only illustrates (9) Ibaraki’s trauma, but emphasises his drastic development through his experiences. The importance of the consequences Ibaraki has faced throughout his lifetime are reinforced in the final pages of the novel after he reads Sister Bernice’s letter and has an epiphany. The discovery that he had ‘clung to the ideal of discretion’ creates a sense of hope for Ibaraki’s future and emphasises his newfound understanding of life through the consequences he has faced. (10)

Annotations (8) Ensure you don’t just randomly place quotes throughout the essay, but instead, analyse them to give them meaning. An easy way to do this is by including the quote , its connotations and what emotions or ideas they provoke, followed by why the author has used it. In this case, the quote was the ‘pink spur of land crested with green.’ Its connotations were positive such as colour, happiness, and hope. These connotations were used to foreshadow positive change. 

(9) Using a variety of vocabulary such as ‘illustrates’, ‘explores’ and ‘demonstrates’ shows that you are not only identifying what the author is doing but that you understand how and why they have done it in this way. This is ultimately the goal of a text response essay. 

(10) It is important to ensure the flow of your essay to show sophistication in your writing. It is not only the ideas you have, but the way in which you convey and explain them that ultimately indicates your understanding of the text. A simple way to do this is to use a summary sentence at the end of each topic that subscribes to the idea and links to the previous or following paragraph. 

Essentially After Darkness highlights the necessity of facing consequences for our actions to promote learning and growth. Whilst Ibaraki and many other characters suffered as a result of their behaviour, Piper asserts that Ibaraki is not the overall perpetrator but ultimately pays the highest price of all. (11)

Annotations (11) Just like the introduction, the conclusion is a brief summary of the discussion topics throughout your text response. Most importantly, after exploring all of the evidence you must form a stance in relation to the essay topic. Many students believe that this needs to be a simple and definite yes or no, which is not the case. Instead, I have suggested that Ibaraki is not the only one to blame for other character’s suffering, but that ultimately, he paid the highest price. Check out 5 Tips for a Mic-Drop Worthy Essay Conclusion if you need more help finishing your essay off with a bang!

If you found this essay breakdown helpful, then you might want to check out our After Darkness Study Guide which includes 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!

After Darkness 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 .

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

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

Macbeth and Animal Farm: common theme = power

How do they achieve power?

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

How do they maintain power?

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

What is the effect of power on the two characters?

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

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

The following is an excerpt from our study guide, I am Malala and Pride , available for purchase here .

Plot overview

I Am Malala by Malala Yousafzai is a memoir of the eponymous Pakistani schoolgirl and activist. Yousafzai grows up in Pakistan’s Swat Valley with parents who were unconditionally supportive of her education. However, Pakistan is strongly under the control of the Taliban, an extremist group who opposes education for girls. On the other hand, Yousafzai’s family practice Islam in a peaceful and egalitarian manner.

Tracing how decades of global, geopolitical movements have produced these conditions, Yousafzai recounts the rise of the Taliban and her increasingly dangerous journey to school each day. The geopolitical histories trace back decades to the military rule of General Zia in the 1980s. Since then, turbulent domestic politics combined with a volatile, ever-evolving relationship with America (which, importantly, is partly America’s fault) has allowed the Taliban to rise to power. The post-9/11 period and the ‘War on Terror’ are important milestones here, since these are the years in which Yousafzai grows up. 

As the Taliban continue to deny women and girls their freedoms, Yousafzai becomes an outspoken activist, made all the more prominent by the BBC and the New York Times. Because of her fame, nationally and internationally, she becomes a target and is shot in the head by Taliban gunmen when she is just 15. The memoir starts here in its prologue, before going back in time to catch us up. Indeed, Yousafzai is now well-known everywhere for this incident. 

The remainder of the book traces her recovery, and reaffirms her commitment to fighting for girls’ education. Even though she now lives in Birmingham, England, she has persevered through many setbacks to keep up the good fight - now on a uniquely far-reaching international platform. 

Pride , directed by Matthew Warchus, is a film exploring the 1984-85 miners’ strike in Britain. In particular, it explored how an unlikely ally, the Lesbians and Gays Support the Miners (LGSM) organisation, was able to provide solidarity and support despite their differences. 

At the time, many members of London’s LGBT community had difficult coming out experiences, made all the more difficult by stigma and dominating views of masculinity - they perceived miners in their hometowns as part of that problem. However, activist Mark Ashton saw an opportunity to help a group in need, and a group that was experiencing similar political pressures as themselves, particularly at the hands of Conservative Prime Minister Margaret Thatcher. 

While the National Union of Mineworkers is initially reluctant to take LGSM’s money, Mark is able to connect directly with Dai Donovan, who represents miners from the Welsh village Onllwyn. Over time, LSGM is able to build relationships with locals, who gradually warm to their presence as well. Solidarity - the idea that anybody’s fight against injustice is everybody’s fight against injustice - is an important part of what makes this partnership tick. Their campaign culminates in the Pits and Perverts concert, which raises thousands of pounds. 

The ending is a bittersweet one though - the mineworkers’ union finds this too controversial, rejects further support and ultimately loses the strike, while the queer activists return to their own struggles with identity and belonging. However, the campaign forged lasting bonds between these activists and miners, who show up in their own display of solidarity at the next year’s Pride March. 

Themes, Ideas, and Key Messages 

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

Similarities (CONVERGENT Ideas)

Identity and Perspective : Before even considering the activism that is featured in each text, it’s worth unpacking the individual identities of the main characters, and the complexities that come with them. Both texts see characters juggle and negotiate tensions within their identity - in particular, other people who share the identity don’t always see eye to eye with them. In I Am Malala , Yousafzai often finds herself at odds with other practitioners of Islam, especially the more extreme Taliban who would oppose her belief in girls’ education. Likewise, queer activists in Pride ’s LGSM draw incredulity from their peers, who bristle at the idea of supporting the mineworkers. However, not only are these characters able to overcome these tensions, but their personal identities give them a perspective that feeds back into their activism - they actually draw on their identity in their fight for justice. Yousafzai acknowledges that Muslims “don’t [all] agree” (Chapter 7), but she firmly believes that “education for females not just males is one of our Islamic rights” (Chapter 23). Her fight is informed by, rather than separate from, her faith. In the film, personal identity also acts as a springboard for activism. For example, the collaborative and highly successful Pits and Perverts fundraiser came about as a result of the “long and honourable tradition in the gay community [of] when somebody calls you a name…you take it and you own it”. Queerness is mobilised to fundraise for the miners, rather than silenced or excluded as others might have it. 

Injustice and Activism : As we explored in the context sections (and as we’ve been exploring throughout), a fight for justice is fundamentally at the heart of both texts. In the film and the memoir alike, we see conservative agendas disempowering certain groups. Yousafzai recounts how pre-existing sexism in Pakistan, where girls found “no point in going to school just to end up cooking, cleaning and bringing up children” (Chapter 3), was exacerbated by the Taliban who closed schools altogether. They would even vandalise and destroy schools - “by the end of 2008, around 400 schools had been destroyed” (Chapter 11). Yousafzai’s fight is really about equality and human rights. The miners and LGSM are fighting their own injustices and inequalities in the film - Prime Minister Thatcher had been closing down mines and stripping miners of their livelihoods. Not only that, but she’d used pretty brutal tactics, calling in the police and withholding income support for newly-unemployed miners who struggled to feed their families through the winter. 

Women’s Education : This isn't the principal fight in Pride , but there are moments where it definitely shines through. In particular, we first meet Sian as a young housewife, but by the end of the film Jonathan had encouraged her to return to school, and we know that she goes onto become the first female MP of her district. Through the strike, she discovered her own passion for trade unionism, and education hugely empowered her to take that passion further. This is particularly important given how much the strike affects men and women alike - consider the significance of ‘Bread and Roses’. In the memoir, the importance of women’s education is a much more central element. As Yousafzai points out, “going to school wasn’t just a way of passing time, it was our future” (Chapter 11). In both texts, education helps people (and women in particular) forge relationships and futures for themselves, and for one another. 

Differences (DIVERGENT Ideas)

Now it's your turn! Here are some questions to get you thinking about the differences between the two texts:

• Activism: what forms of activism are there? how effective can activism be? how are these ideas portrayed in the two texts?
• Solidarity: what does solidarity mean? what are the ways in which people can show solidarity? how are these ideas portrayed in the two texts?

Essay Topic Breakdown

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

Theme-Based Prompt: Compare how the two texts explore injustice.

This is a theme-based prompt. Both texts have a pretty clear focus on this idea of ‘injustice’, so it’s an important theme to have thought about beforehand. This prompt is quite broad, so you could potentially include a wide range of thoughts and opinions about injustice—you might want to consider angles like who is affected, what its impacts are and what actions can reasonably be taken against it. Also because of how broad this prompt is, try to find answers to these questions from within the texts, but phrase them in a way that doesn’t necessarily refer to a text. This will help you keep your ideas flexible for both texts when the time comes to write. 

I think those angles are a reasonable starting point for brainstorming. In the memoir, Yousafzai and her peers—Pakistani schoolgirls—are the most affected, while the injustices portrayed in the film affect coal miners and the LGBTQ+ community. All of these groups are disempowered and disenfranchised by injustice, and this is an important impact. Note that this is something you can say about both texts, which is exactly how we were trying to phrase our answers.

In terms of taking action against injustice, there’s a wide range of measures across the texts—speaking out, writing for news outlets, organising large-scale fundraisers etc.—and the key takeaway from that might be how diverse these measures are, the different outcomes they generate and whether or not they’re effective. 

Step 3: Create a plan

Because this theme has a lot of rich overlaps between texts, it’s best to integrate discussion of both texts into every paragraph. When we do this for a theme-based prompt, especially a prompt with just one theme, that means every paragraph uncovers a new angle or dimension from both texts about the theme. Learn more about Integrated Text Discussion in How To Write A Killer Comparative .

P1: Injustice is framed as limiting people’s power—we can look at marginalised groups in both texts, from the schoolgirls of Yousafzai’s Pakistan, or the miners and the queer folk from the film.

P2: It’s also something that must be fought. Because it has such a detrimental impact, there is a need for those groups to stand up for themselves and for each other. 

P3: In so doing, injustice may take time to overcome, but that doesn’t mean we shouldn’t fight it. Not all activism can be instantly, wildly successful—partial successes along the way are usually more frequent.

Our contention will try to string those three ideas together: injustice in any society involves some experiencing marginalisation and powerlessness that others do not experience (P1), and it is something that must be fought (P2), even if this is a time-consuming process (P3). Have a go at writing your own essay now if you’d like, or read a free preview of our I am Malala and Pride study guide below!

A Killer Comparative Guide: I am Malala and Pride

How to Write a Killer Comparative Ebook

The Ultimate Guide to VCE Comparative

A Guide to Structuring a Reading and Comparing Essay

Reading and Comparing Essays

‍ How to get A+ in Reading and Comparing

Compare the Pair: A guide to Structuring a Reading and Comparing essay

Charlie’s Country  is an Australian drama film directed by Rolf de Heer, starring David Gulpilil. The linear film, co-written by de Heer and Gulpilil, tells the story of Charlie, a middle-aged Aboriginal man living in the town of Ramingining. The audience follows Charlie as he sets off to reconnect with his Indigenous origins; choosing to abandon urbanised society, Charlie flees into the bush to live by his “Mother country”. Much to his demise, Charlie subsequently becomes ill and is admitted to hospital in Darwin. After discharging himself from the hospital, Charlie is quickly arrested for assaulting a policeman. Charlie serves time in prison for his crime and the film’s final scenes show Charlie, free and mentoring young Aboriginal boys in their native cultural traditions. As the audience follows Charlie’s everyday encounters, they gain insight into the harsh realities faced by Aboriginals in modern-day Australia. Through his individual plight for survival amidst illness and poverty, de Heer presents profound political commentaries on this very pertinent social issue, spanning decades in Australian history.

The film's critical acclaim upon its release in 2013 was the impetus in prompting conversations and debates about the politics of Indigenous Australians. De Heer’s depiction of this remote community grappling with issues as a result of government-imposed law serves to capture the oppression and deeply ingrained racism that continues to persist.

Tracks  is one Australian woman’s survival narrative. The 1980 autobiographical memoir by Robyn Davidson, recounts her courageous 1700 miles trek across Australia, beginning from Central Australia towards the Indian ocean. In the effort to escape the monotony of her daily life, Davidson travels to her first destination -- Alice Springs -- in 1973 to start preparations. In the 2 years she spends there, she learns how to train camels and live minimally, the former proving to be a challenge. Despite her vehement will to refuse any kind of donation or financial help, Davidson eventually accepts a writing deal in partnership with National Geographic, providing the much-needed funds to confirm her departure. It's through this deal that she meets Rick Smolan, whom under the conditions of her deal has been recruited to photograph this journey - an unsettling compromise for Davidson which she ruminates on frequently in the novel. With her beloved dog Diggity and her camels, Davidson traverses the Australian landscape, discovering more about herself, her country and the people. 

Fundamentally, this book is as much about Davidson’s internal transformation and personal frontiers as it is about exposing the colonial and masculine ethos that permeates Australian history.

Themes (Similarities and Differences)

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

Isolation and Alienation

Charlie, drawing on Gulpilil's own experiences, becomes profoundly alienated from his Ramingining community to the extent where he serves no major function in the community life. Charlie is alienated both physically and figuratively, not only does he live in a makeshift hut on the outskirts of town, but he is separated from the Aboriginal community in this town and resents the fact that white Australians have assumed power over his land. He is evidently neglected from the wider society, which causes much of the internal and external conflict he experiences in the film, an ordeal which many within the Indigenous minorities can empathise with. 

In his efforts to escape his life within the confines of the intervention, Charlie sees isolation and social rebellion as a mechanism to rediscover his Indigenous roots, spending time in nature to fulfil his journey for self-discovery and to gain the freedom he’s lost. Removing himself from a town permeated by imperial powers provides him with an opportunity to restore his lost sense of self-autonomy. De Heer is intending to reveal the difficulty of assimilation for Aboriginal Australians. He also highlights the importance of human connection and relational harmony for individuals.

“Do you mind if I call you Charlie? I have difficulty pronouncing foreign names.” “Now I’m a foreigner?” (Charlie and the Darwin doctor) 

“It's isolated, it's remote.” (Policeman Luke on Ramingining)

“I work for them catching criminals, they don’t pay me.” (Charlie)

“I don’t know what’s wrong with him… shaming us.” (Pete on Charlie)

Robyn Davidson views complete isolation as a way to detach herself from the commercialism and expectations of modern-day Australia, to connect with nature and to challenge her own beliefs of herself. For her, complete solitude in this journey is a private and personal gesture designed to intentionally preserve the sanctity of the trip. While Rick Smolan’s company appears benign, Davidson’s abrasive attitude towards him as well as her reluctance in ‘selling’ her story is particularly revealing of her attempt to maintain the subjectivity of the trip. The act of breaching this solitude is what Davidson sees as an egregious debasement of the sacredness of the journey, allowing it to be objectified by the eyes of the public. In addition to this, isolation signifies liberation and freedom from a society laden with rigid expectations, Smolan acts as a constant reminder of these external responsibilities. Davidson experiences alienation from the wider society, being a confident, decisive woman trekking independently and defying the limitations imposed on her sex. She also repeatedly expresses her sense of alienation when entering Aboriginal communities and although she is sensitive to the impression she gives, she acknowledges her persistent feeling as an outsider. Davidson is aware of the divide between these two cultures that have resulted from a history of inequality and oppression. In  Tracks , Davidson also demonstrates the need for meaningful connections, however she sources this from her animal companions and nature.

“My aloneness was a treasure which I guarded like a jewel... but like everything [it] had to follow the laws of change.” (p. 40)

“No more loved ones to care about, no more ties, no more duties, no more people needing you to be one thing or another, no more conundrums, no more politics, just you and the desert baby.” (p. 94)

“I could never enter their reality, [I] would always be a whitefella tourist on the outside looking in.” (p. 146)

“I could not be with the Aboriginal people without being a clumsy intruder.” (p. 146)

Charlie’s displacement from his community is the driving force behind his decision to return to the Aboriginal way of life. De Heer uses this depiction of Charlie, to serve as a wider embodiment of the difficulty for the Indigenous people to assimilate and conform to the western lifestyle. After witnessing the limitations he faces under the ‘whitefella’ laws in Ramingining, it is Charlie who first attempts to escape his community. He repeatedly rejects the life of subordination and compliance under the government laws, which as shown in the film has forced many of the Indigenous people to neglect their own traditions and way of life (for example, they must now eat unhealthy fast foods to survive and go through school). Charlie’s individualistic expressions seen through crafting a spear and going hunting are actively suppressed by the white authority, leaving him to conclude that the only way to fully exercise his personal agency is to live in the Australian wilderness, alone. His act of abandoning the car with his belongings and parting with almost nothing in his possession is significant in demonstrating his defiance of the imposition of western culture and his journey for self-reliance. De Heer depicts how conforming to an oppressive society is detrimental and praises the self-transformative effects of embracing individualism rather than blindly conforming.

"Live the old way… …going to my Mother Country.’"(Charlie)

“F--- those thieving…white bastards.” (Charlie)

“The kids go to school now. They don’t care.” (Charlie)

“Why did you come here? From far away… stealing people’s stuff! Is this your land?... F---ing bastards.” (Charlie)

“I’m free now. I have my own supermarket! And this is my country! I can dance with it!” (Charlie)

Robyn Davidson’s decision to leave her normal life in Queensland to cross the Australian desertland is one that becomes the subject of much scrutiny and doubt. Her bold, dauntless approach towards pursuing this journey, specifically as a single, young woman was radically counter-cultural to the perception of women in the 1970s as delicate and docile individuals. Davidson’s indifference and somewhat dismissive attitude towards the derogatory remarks and reductive characterisations are indicative of her acknowledgement of the unjustified prejudice that permeates Australian culture. Additionally, Davidson’s assertive personality and commitment to travelling in the wilderness alone is ultimately an establishment to herself as an autonomous woman, rebelling against the traditional conventions of marriage, motherhood and domesticity that was previously expected of her. Ultimately, Davidson strongly asserts the need for resistance, particularly where there is the expectation for conformity, as well as her experience, is revealing of the cleansing and liberating feelings of embracing individualism rather than conforming.

“(Dropping eyes to chest level). "Where’s yer old man?" "I don't have an old man." (p. 5)

“I was self-protective, suspicious and defensive and I was also aggressively ready to pounce on anyone who looked like they might be going to give a hard time.” (p. 34)

“It was essential for me to develop beyond the archetypal female creature who from birth had been trained to be sweet, pliable, forgiving, compassionate and door-mattish.” (p. 34)

“I wanted to… unclog my brain of all extraneous debris, not be protected, to be stripped of all social crutches, not to be hampered by any outside interference.” (p. 91)

Belonging and Identity

The laconic and monotonous pace of the film is suggestive of a more deeply rooted issue surrounding the identity distortions experienced by Aboriginals, even to the present day. This depiction acts as a personification of the widespread troubles of Indigenous Australians -- the deep struggle between submitting to the institutions of the ‘whitefella’ intervention and clinging to what is left of their traditional heritage, often rendering them feeling separated from both cultures. The mundane nature of his daily activities conveys the social incongruence between Charlie’s struggle to live sufficiently as a ‘traditional’ elder or as a ‘modern’ Australian, finding himself disconnected from both. This internal battle is psychologically taxing for Charlie, as he encounters many contradictions: receiving welfare payments, only to have to give them away to his family, and so he goes without food and later becomes hungry, only to be denied the opportunity to hunt for his own food. Fulfilling one culture means rejecting the other, and freedom in one means rebellion in the other. Thus, Charlie sees social transgression as his only choice of refashioning his own identity. De Heer reveals how freely establishing a secure sense of identity and belonging in their culture is critical in the lives of these individuals, however, the long-term damage that western society has inflicted has made this almost impossible.

“You’ve got a job, and you’ve got a house…on my land. Where’s my house? Where’s my job?” (Charlie)

“We need to teach them… the traditional ways.” (Charlie’s friend) 

“I’ve been away fishing, now I’m home. I’m eating well. It’s my own supermarket.” (Charlie)

In  Tracks , Davidson’s attempt to escape the responsibilities and social pressures to immerse herself in nature is ultimately a journey of self-discovery; to define her own identity irrespective of the expectations imposed on her by the 1970s society. As a solitary female, challenging the restrictions of her sex and exposing herself to unpredictable surroundings, she can curate her own identity as a progressive, post-colonial feminist, seizing and capitalising on the autonomy she has. This endeavour allows Davidson to undergo a form of self-transformation, a search for meaning for herself and others, what she describes as a “desocializing process -- the sloughing of, like a snakeskin”. Furthermore, Davidson is determined to rediscover her place in respect to the desertland, educating herself about the native biodiversity and most importantly, the native people. Although Davidson recognises that she will always be considered a ‘whitefella’, she finds a sense of fulfilment and belonging in engaging with and observing the rural Aboriginal communities. She demonstrates a deep understanding of the distorted identity and loss of belonging for the Aborigines at the hands of imperial white forces and is sensitive to the damage that has been inflicted. Above all, Davidson gains a renewed, stable sense of identity and belonging through her resistance to the imperial Australian racist mentality, challenging the male-orientated culture. However, she is also confronted by the reality of this breakdown of identity within the Aboriginal communities.

“This was my first home, where I felt such a sense of relief and belonging that I needed nothing and no one.” (p. 40)

“From the day the thought came into my head ‘I’m going to enter a desert with camels’, to the day I felt the preparations to be completed, I had built some intangible but magical for myself…” (p. 95)

“I wanted to understand so much… I melted into a feeling of belonging. They were letting me into their world. They asked me if I wanted to dance.” (p. 145)

“Once dispossessed of this land, ceremonial life deteriorates, people lose their strength, meaning and identity.” (p. 167) ‍ ‍

Connection to Nature

The significance of nature to the Aboriginal people is at the core of this film. Charlie embodies this connection through his escape to the Australian wilderness. This first acts as a fresh alternative to the restrictive, repressive lifestyle within his government-intervened community, given. It's an opportunity to rebel against the western lifestyle and restore his traditional way of life, which leaves him feeling free, happy and powerful. However, his struggle to adjust to this change is indicative of the corruption of the intrinsic link between the people and the land. The harmonious, symbiotic relationship that the Indigenous people once had with the land has deteriorated; having been essentially poisoned through the introduction of a progressive white society. As much as Charlie tries to balance elements of both cultures by hunting and quitting smoking, it becomes apparent to him returning to where ‘[he] was born’, is the only way to rediscover his sense of self and truly experience freedom. Ultimately, like much of the wider Indigenous people, Charlie’s unable to fully abandon the constraints of white society and has become dependent. De Heer confronts the audience with the consequences of this irreversible separation through the illness and poverty that the Aboriginal people must endure.

“There’s lots of food in the bush… It's like a supermarket out there.” (Charlie’s companion)

“Then you’ll die in the wrong place… a long way from your country… They’ll be no one with you, no one to look after you.” (Charlie to a friend)

“I was born in the bush. They didn’t find me in the bush.” (Charlie)

“I want to go home now......back to my own country......where my place is...” (Charlie)

The connection to nature seen in  Tracks  serves several functions for Davidson. Contrary to the majority of attitudes of the time, Davidson can recognise the sanctity of the Australian land and is determined to learn about and experience this connection between the Aboriginal people and their environment. Like in  Charlie’s Country , Davidson’s encounter with the rural, minimalist Aboriginal communities is a distinct contrast to the urban society which she leaves behind. It’s a sobering reminder to Davidson of the persisting racism and colonialist mentality which pervades Australian history and confirms the serious consequences that have occurred from the loss of connection between land and people. Even further, her battle to survive and adapt to the unpredictability of the desert is the ultimate test of endurance, which Davidson acknowledges enables lasting self-transformation and consolidates to her the true majesty and reverence of nature. Therefore, this escapism into the desertland is Davidson’s own challenge for personal change and a chance to experience true liberation like Charlie, as well as finding peace with the natives by means of acknowledging the usurpation of their traditional land and rights.

“All around me was magnificence. Light, power, space and sun. And I was walking into it. I was going to let it make me or break me.” (p. 101)

“It is difficult to describe Australian desert ranges as their beauty is not just visual. They have an awesome grandeur that can fill you with exaltation or dread, and usually a combination of both.” (p. 122)

“Besides, no amount of anthropological detail can begin to convey Aboriginal feeling for their land. It is everything -- their law, their ethics, their reason for existence.” (p. 167)

“And just as Aborigines seem to be in perfect rapport with themselves and their country, so the embryonic beginnings of that rapport were happening to me.” (p. 193)

Author Views and Values

Aboriginal rights and the intervention.

Like in any comparison, it is important to understand some of the key events that were occurring at the time of both the text and the film. While  Tracks  and  Charlie Country  are set more than 3 decades apart, the issue of Aboriginal rights is still equally as important in both settings.

In  Tracks , the 1970-80s saw many progressive milestones in Aboriginal history. Just years prior to Davidson’s departure, Australians voted for change in the constitution officially recognising Aboriginal people in the national census. Later, 1976 saw the Aboriginal Land Rights Act, which allowed the Indigenous people to assume ownership of land that was acknowledged to be rightly theirs. Many of these legislative changes were indicative of a larger-scale shift in attitudes towards the fairer treatment of Aborigines. While the oppression and racism continued, it was individuals like Robyn Davidson who pioneered the way for greater change and equality. Davidson ultimately intends to highlight the devastation that has occurred to the Aboriginal people following colonisation and aims to shine the light on the persisting issues these individuals face in an ostensibly ‘post-colonial’ Australia.

• Despite some advancements of Indigenous rights in the 1970s, Davidson is firmly opposed to the ongoing racist attitudes held by white Australians.
• Davidson sympathises with the deep hardship endured by the Aboriginal people, which was characteristic of the evolving attitudes towards racial equality in 1970s Australia.

In addition to this, was the 2007 ‘intervention’.  Charlie’s Country  is set some years following the introduction of the Northern Territory National Emergency Response. Following reports of child sexual abuse and neglect, the Howard Government unleashed national forces to remote Indigenous communities in the effort to act as law enforcement and impose alcohol and drug restrictions. De Heer examines the consequences of what was described as a ‘last-ditch’ attempt to maintain power; an act that was widely criticised and showed to further exacerbate the suffering of the Indigenous people. Hence, de Heer’s film provides a personal insight into the difficulty of navigating life for Indigenous citizens as a result of the Intervention, and how Charlie’s struggles are representative of the anguish of the wider Aboriginal community.

• Drawing parallels with the time of 2007 Northern Territory Intervention, de Heer intends to reveal the identity distortions that Indigenous individuals suffered due to the enforcement of westernised laws.
• De Heer’s depiction of Charlie’s alienation from Ramingining was indicative of the wider Aboriginal population in the time following the 2007 Intervention, which saw the introduction of new restrictions into rural communities in the Northern Territory.

Women's rights in Australia

The 1970s was a critical time for women's rights in Australia. At this point in time, after the first wave enabled women to vote, the second wave of feminism was moving through the nation. Women all across Australia were now fervently advocating for their own autonomy and freedom in the workplace and at home; their efforts directed more to dismantle the rigid social structures and expectations that were demanded from them. Davidson is an avid proponent for this cause and demonstrates a tactful and astute understanding of her image as a white, middle-class woman. She openly reiterates her distaste for the sexist remarks and misogynistic caricatures she faces and is determined to confound the restrictions placed on her sex of being a domesticated and weak female. Overall, Davidson is promoting the principles of breaking through societal expectations, however, also reveals the many challenges she encounters in doing so.

• Davidson’s defiance of the traditional female image is indicative of the progressive attitudes regarding women's rights in 1970s Australia.
• Davidson’s embodiment of feminist ideas was synonymous to the 1970s second wave of feminism, where women in Australia were fighting for more freedoms at work and at home.

Comparing metalanguage and film techniques

It can be a bit daunting trying to compare techniques in a novel to those in a film. In this instance, it is crucial to first look at the idea you are comparing. For example, we can observe that both  Tracks  and  Charlie’s Country  show the liberating and cathartic feeling that comes from escaping social pressures. Now, let's look at  how  Robyn Davidson and Rolf de Heer achieve this, albeit in different manners. In  Tracks , Davidson uses  imagery  to describe the desertland she meets, when she says, “It is like a vast unattended communal garden, the closest thing to earthly paradise I can imagine”. De Heer communicates this premise of freedom, however, does this by featuring a variety of  diegetic sounds  of the biodiversity in which Charlie finds himself.

Another example is how intimacy with protagonists is edified. De Heer uses sustained, intimate close up shots and at many times breaks the fourth wall by having Gulpilil look directly at the camera. On the other hand, Davidson employs colloquial language and is liberal with her use of expletives in order to convey a casual, conversational mood between herself and the reader.

Other aspects to consider:

Anthropomorphism  in  Tracks  is   the act of attributing human traits or behaviours to a god, animal or object. Davidson’s use of anthropomorphism to describe the animals around her (specifically the camels and her dog Diggety) is suggestive of the necessity for companionship for humans; the need to establish meaningful connections with others. For Davidson, companionship with animals comes easier than with humans (presuming this stems from her perception of society as problematic and grossly flawed).

• Davidson on camels: “They are haughty, ethnocentric, clearly believing they are god’s chosen race. But they are also cowards and their aristocratic demeanour hides delicate hearts. I was hooked.” (p. 14)
• “[The camels] hung around me like flies, shuffling their feet, looking embarrassedly at the ground or coyly through their elegant lashes, acting apologetic and loving and remorseful…” (p. 80)
• “Diggity had become a cherished friend rather than simply a pet.” (p. 227)
• “[Diggity] combined all the best qualities of god and human and was a great listener." (p. 207)

Cinematography, specifically types of cinematic shots  in  Charlie’s Country .   Those commonly seen in the film include wide shots (camera captures a wide view of the context or setting), close up shots (camera captures events from a short distance away; involves a character’s facial features and expressions), as well as panoramic shots (camera pans around horizontally, showing surroundings). Directors are intentional in the type of cinematography they employ; therefore it is crucial to observe the context in which these shots take place in order to enrich the analysis. 

• Several wide angle, landscape shots of nature, both at the beginning of the film and when Charlie first enters the Australian wilderness.
• Close up shots of Charlie sitting by the fire, and when he is in prison.
• Panoramic shots of Aboriginal art that Charlie discovers in the wild.
• Panoramic shot also in the courtroom where Charlie is on trial.

Remember! When analysing, you  must  consider where these occur in the context of the film’s narrative, and the effect they have on enhancing the events/themes/broader ideas being presented in the scene. (i.e. How are the characters portrayed compared to their surroundings? Compared to others? How are they interacting with these elements? Why has the director chosen this angle/shot?)

Sample Essay Plan

Compare how Tracks and Charlie’s Country present the importance of Individualism.

Sample Introduction:

Set amidst an era of significant social and political change, Robyn Davidson’s autobiographical memoir ‘ Tracks’  and Rolf de Heer’s film ‘ Charlie’s Country’  explores the plight of individuals who embrace individualism. Both Davidson and de Heer assert that individualism is necessary for the protagonists, who find themselves marginalised from the wider population. Through their respective journeys to independence, Robyn and Charlie achieve  a sense of empowerment through identity self-refashioning , as well as they express  their disapproval of   the toxic institutions of society . However, the text and the film also demonstrate how at times,  embracing individualism can present challenges to those who pursue it . Ultimately, Davidson and de Heer commend those who do not fully conform to society.

Paragraph 1: Charlie and Robyn gain empowerment through independently establishing their own identity.

Robyn sees the trip as a demonstration to herself of the shedding of the traditional image of white, middle class woman: 

• “Am I an individualist because I believe I can take control of my own life? If so, then yes, I was definitely that.” 
• “I had… been sick of carrying around the self-indulgent negativity which was so much the malaise of my generation, my sex and my class.”
• Describes the experience as a “gentle catharsis” and that “[She] was happy”.

Charlie’s abandonment of the Ramingining community is an attempt to resolve the identity ambiguity he feels as a result of the Government intervention.

• Charlie appears to receive government benefits only to have to give it away to family, later divulging that “I have no money left… or food. I’m hungry”. When he tries to source food by traditional means, he is punished. All this demonstrates his struggles in balancing two cultures.
• Going back into his “Motherland” he is joyful, dancing and eating again. Recognises a sense of security in going back -- “That’s what I want”, “now I’m home”.

Paragraph 2: Embracing individualism for the protagonists means resisting toxic societal constructs.

Robyn adamantly condemns the deeply entrenched racism of Australian culture and sympathises with the Aborigines and their hardship. Her determination to learn about the Aboriginal people is an attempt to overcome the wedge that has been driven between the two communities: 

• “Racism is a daily experience for blacks in Alice Springs. It reinforces their own feelings of worthlessness and self-hate.”
• “Large mining corporations… lusting after Aboriginal Reserve land.”
• The dependency of the Aboriginal people termed as a “handy PR stunt” for government and policies equated to “apartheid in South Africa”.

Charlie becomes increasingly resistant against the traditions and policies of the government institutions.

• Many times he is seen throwing cigarettes into the fire -- his resentment towards the introduction of white customs. "You come from far away and bring us alcohol, ganja, tobacco... all bad!"
• Charlie rejects the white lifestyle by refusing to eat the food in the community, recognising its detrimental properties. Charlie on illness: “It’s all that… white man junk food we eat."

Paragraph 3: Resisting conformity is challenging for Robyn and Charlie, particularly in an oppressive society.

Robyn is met with harsh opposition and derogatory depictions in the media: 

• Labelled “the next town rape case.” 
• Discovers feces on her pillow one night in Alice Springs -- “let my presence be known as if I were a trespasser.”
• “‘Camel lady’ had that nice patronising belittling ring to it.”

Charlie is constantly shut down when embracing the ways of his culture; ultimately submitting to individualism also unveils his dependency on white society.

• He is charged with ‘recreational shooting’, and his hunting spear is considered "a dangerous weapon."
• Charlie’s confession earlier about his false teeth: “I can’t eat with them… I can eat without them” alluding to this dependency on society.
• The irreversible damage of white intervention is evident in Charlie’s poor health as a consequence of going back to “the old way” -- must go to the hospital.

Additional essay topic and prompts:

‘Resistance to conformity is at the forefront of Tracks and Charlie’s Country ’. To what extent do you agree?

Discuss the ways in which the environment assists the protagonists in their journey for self-discovery.

‘The connection to the land is significant for the characters of both Charlie’s Country and Tracks ’. Discuss.

‘The stories of Charlie and Robyn represent the plight of many others’. To what extent do you agree?

Compare the ways in which characters in Tracks and Charlie’s Country seek to discover what really matters to them.

‘Despite their deep hardship, Charlie and Robyn find transformation in their journeys’. Discuss.

Useful Resources

How to Write a Killer Comparative

Reading and Comparing Tracks into the Wild

Compare the Pair- A guide to structuring a reading and comparing essay

The link between your contention and topic sentences in relation to the prompt

Master Reading and Creating

As the VCE English exam creeps up on us, many of you will be testing your writing skills under timed conditions (if not, then you better!!!). But,  have you sat down under timed conditions for 15 minutes of Reading Time?  Have you thought about how to maximise reading time? Many of you may have already figured out how you will approach Reading Time in your exam. Some of you will have a rough idea, while some will pay attention to detail – knowing how to spend each and every minute in that 15 minutes of silence. During Year 12, I was somewhere in between. I knew I didn’t want to waste precious time like others – those who would simply open the exam booklet, check out the three sections, then sit there staring blankly at the clock to tick over to 9:15am (you will definitely see some classmates doing this :’)) Below is a  5x5x5 guideline  which, in my opinion, is the most strategic way to maximise every single minute in Reading and Writing Time. Keep reading afterwards for more details!

Reading Time

First 5 minutes: plan text response and reading and comparing.

The best tip I’ve received from a VCAA examiner is: ‘Don’t automatically select the prompt that looks easiest.’

Why? While a prompt may look ‘easier’, it may not necessarily enable you to delve into the text to the best of your ability. It is worth spending a few extra seconds contemplating how you would break down your other available prompts. This is worth doing because sometimes, you actually realise that the prompt which looked ‘harder’ to deal with initially (probably because of some scary-looking keywords), is more suited to you and your ability to respond.

In case you’re wondering, a ‘mental plan’ is my way of saying ‘do a plan in your head’.  You should always plan (don’t even get me started if you don’t!). You will most definitely reassure yourself and calm your nerves once you’ve organised your contention(s) in your mind and the examples you want to use. Don’t wait until Writing Time to do this, because you can knuckle out hurdles straight away (especially if it takes you time to come up with ideas and evidence!).

Second 5 minutes: Read Language Analysis article (1st read)

Don’t jump straight into analysing techniques straight away.  Reason: This may obscure your interpretation of the contention.  The contention is the first thing you need to get  right . So sit back, read the article for what it is, and absorb as much of the argument presented to you.

Last 5 minutes: Read Language Analysis article (2nd read)

Your second reading should firstly, reinforce your interpretation of the author’s contention, and secondly, involve you identifying language techniques! This should take you right up to the end of Reading Time but even if you still have spare time left, it doesn’t hurt to read the article(s) a third time! The more times you read something, the better your mind will consolidate the cold material in front of you!

Feel free to take on board this guideline or to create your own – at the end of the day, if you have a plan for Reading Time, you’re set!  

Writing Time

First 10 minutes: writing plans.

You've done all that hard work thinking up 'mental plans' during Reading Time, let's put them to paper. Don't skip this step, because you would otherwise have wasted your precious 15 minutes getting ahead. Moreover, it's highly likely you'll forget the points you want to write about if you just store it in your brain. Remember that you are in an adrenaline-driven situation, where nerves can get the better of you. Avoid any mind blanks by guaranteeing yourself success and write the damn plan down!

Next 3 x 55 minutes: Writing essays

55 minutes is a good goal because it forces you to get your act together. Aiming for an essay in 60 minutes can often turn into 65 minutes, or even longer. At the very least if you do go over time with a '55 minute per essay' rule, you will put yourself in a position where you can afford to go slightly overtime, and yet still have enough time for other essays.

Final 5 minutes: Proof-reading

This is a step that many people skip, but if you're reading this blog - you won't be joining them. A quick review of your work can help you edit errors you didn't notice while writing. As you practise in the lead up to exams, take note of what errors you tend to make when writing. Is it expression, punctuation, or spelling errors? Keep an eye on your most common mistakes when proof-reading to be more a more effective editor. It is these small incremental changes you can make in your essays which add up to make a powerful impact on the final product. 

Share this post with your friends and best of luck for your VCE English exam!

Whenever you write anything, whether it be a creative piece, a text essay or a literature discussion, keep these four words in mind:

Simple language, complex ideas.

It seems a basic concept, and at the heart of it, it is! But these four words hold the key to unlocking your English potential. 

To write at your own personal best, you need to utilise the language that you are familiar with. This way, you won’t confuse yourself, and as an extension, the marker too!

Writing clearly and precisely is a skill that all academics can improve on, so how do we outdo ourselves? It’s really quite simple. 

Whenever you write, choose words familiar to you. Searching for longer and more complex words can be dangerous. Rather for the simple word, the word that can be universally understood. When you truly understand the language you use, you then have the power to explore your arguments with far more efficiency.

Of course, with progression of writing comes an increase of sophistication, but do not let this be your goal. Rather, aim to allow your vocabulary to increase organically, looking up definitions when and where you need to. Expression is a facet of writing that every person can improve on, so why overcomplicate your task?

Next time you write anything, consciously focus upon how you express your argument, point of view or analysis. Often, you will find, the simplest word can be the most effective!

So, what about the complex part? This too will grow organically. Find a concept, idea or theme that you understand, and simplify it through the best language you can think of. This way, you ensure that nothing becomes lost in translation, and you demonstrate clearly to the marker that you understand the core of your topic. Next, find another idea, this time of a greater complexity. Break it down and put it into your own words. Over time, you will not only build a concise and accurate writing style, but you will also learn your arguments intimately. You can never go wrong!

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

Why Is the Context Important?

Understanding the context of the texts you are studying is essential if you are to satisfactorily respond to any prompt ( learn about the 5 types of prompts here ). Not only does it provide an insight into the society of the time and their views and values , it also allows for greater awareness of the characters’ motivations, resulting in a richer discussion in your essays. Discussing the context of the texts also makes for an ideal comparison which can be incorporated in the introduction as well as the body paragraphs. Moreover, context paragraphs are a great tool to have up your sleeves, as they can easily be adapted to almost every essay question, a real asset when attempting to write an essay in an hour. 

In this blog post, I will be giving a brief overview of the contexts of the play The Crucible by Arthur Miller and Rosalie Ham’s The Dressmaker . Further down , I have also provided a sample paragraph as an example of a way in which I would go about writing a context paragraph in response to an essay prompt concerning the two texts. Both of these texts are set in fascinating and significant eras of human history so I invite you to conduct your own research after reading this! 

At first glance, the town of Salem, Massachusetts in 1692 and Dungatar, Victoria in 1950s Australia have little in common; however, both towns exist in stifling geographical isolation, allow myopic and parochial outlooks to flourish, and maintain an irrational but overwhelming fear of ‘the other.’ 

The Crucible, Arthur Miller

The Crucible is set in 1692 in Salem. The provincial, conservative town was established by English Puritans who, fearing persecution, fled from a Britain dominated by The Church of England. The first Puritans to arrive in Salem faced brutal conditions, including 'marauding Indians' and living on a 'barbaric frontier' that lay close to the 'dark and threatening…virgin forest' that they believed to be the 'devil’s last preserve'. In order to overcome these challenges, the people of Salem were forced to unify and remain diligent. In order to ensure efficiency, a strict and rigid way of life was adopted, where work and prayer were championed and individual freedoms and pleasures abhorred. Though this harsh way of life did allow the Salemites to stay alive, it forced them to suppress various natural human emotions such as joy and anger, so as to not detract from work and prayer. Further, the town had limited their interaction with the outside world, compelling them to instead be constantly surrounded by each other. This hazardous combination of repression of emotions and interaction with only a small pool of people spurred private jealousies and vengeance within the townspeople, and it is here that the play commences.

The Dressmaker, Rosalie Ham

In contrast, Ham’s novel takes place in 1950s rural Australia, in the fictional town of Dungatar. Despite being set centuries after The Crucible , Dungatar is rife with the same parochialism (great word to use for both texts, referring to a limited/ narrow outlook), resentment and gossip as Salem. The town’s physical isolation - it is surrounded by 'wheat, yellow plains' and seems to be a 'dark blot shimmering on the edge of flatness' - corresponded with their metaphoric isolation from global events, creating an intense fear of ‘the other’. Further, similarly to The Crucible , the stark physical isolation ensures that each individual’s social interactions are limited to the town’s small population, fostering a breeding ground for narrow-mindedness and prejudice. Ham’s description of the way 'the crowd screamed with lust, revenge, joy, hate and elation' after a local football match win reveals the underlying emotions of the town, repressed behind a veneer of respectability and perceived moral propriety. All it takes is a stimulus, which arrives in the form of outcast Tilly Dunnage, to uncover the malicious undertones of the provincial town. 

Example Context Paragraph

During VCE, I tended to use my first paragraph (in response to an essay prompt) as a way to explore the context of the texts I was studying, and relate the context to the essay prompt being addressed ( learn more about the different types of essay prompts here ). In this case, the prompt I have responded to is:

‍ Compare the ways in which The Crucible and The Dressmaker portray divided societies. 

I was able to adapt much of this paragraph below to whatever essay prompts I came across. 

The geographical isolation of rural, parochial towns can breed a kind of myopia amongst inhabitants and promote binary thinking. Salem is situated on the 'edge of wilderness’, with the 'American continent stretching endlessly West’. The 'dark and threatening' forest which ominously surrounds the town is believed to be 'the last place on earth not paying homage to God’, inciting the irrational fear that 'the virgin’s forest was the Devil’s last preserve' (1) . To combat the imminent threat of the 'marauding Indians' upon their arrival in Salem, the Salemites maintained that 'in unity…lay the best promise of safety’, and hence were governed as 'an autocracy by consent' (2) . Similarly, in The Dressmaker , the town of Dungatar 'stretches as far as the silos' and is described as a 'dark blot shimmering on the edge of flatness’. 'The green eye of the oval' is a physical representation of the town’s predilection for prejudice and endorsement of slyly watching others (3) . The stifling insularity experienced by both towns perpetuates a paucity of culture and 'parochial snobbery’, as well as fostering austere social expectations (4) . The totalitarian regime that governed Salem and their 'strict and sombre way of life' conditioned the people of Salem to repress natural human emotions so as to conform to the conservative and rigid values of society. Indeed, Miller’s description of the 'small windowed dark houses struggling against the raw Massachusetts winter' alludes to the Salemites’ dogmatically narrow-minded outlook and their repression of any individuality. Hence, despite the veneer of propriety upheld by Salem’s 'sect of fanatics’, the town is rife with hidden resentments and 'long-held hatreds of neighbours' (5) . Whilst moral respectability and piety conceal the true sentiments of the people of Salem, clothing is the mask for the 'liars, sinners and hypocrites' of Dungatar (6) . Though on the surface the town appears respectable, the true desires of 'the sour people of Dungatar' are revealed through their desire 'to look better than everybody else’. Their lack of connection with the outside world forces their constant interaction with one another and means that 'everybody knows everything about everyone' (7) . Thus, Miller and Ham postulate that geographical isolation inevitably forges unyielding social norms that repress human emotions and pits individuals against each other (8) .

‍ Annotations (1) In these two sentences, I’ve provided the geographical context of Salem.   ‍ (2) My description of the geographical location is followed quickly by describing the town’s beliefs and values, which have a large impact on the social context.  ‍ (3) Here, I’ve used the geographical context as a metaphor to explain the social context of Dungatar. ‍ (4) I’ve described a similarity between the two towns - remember to use lots of meaningful comparisons in all paragraphs ( LSG’s CONVERGENT and DIVERGENT strategy is a useful strategy for this).  ‍ (5) I’ve detailed how the societal expectations and values of the Salemites (the people of Salem) can impact the behaviour of the characters.  ‍ (6) Here, I’ve outlined a subtle difference (or divergence ) between Dungatar and Salem.  ‍ (7) Once again, I’ve related the townspeople’s values and beliefs, as well as the physical context, to their behaviour. ‍ (8) I’ve ended with a meaningful comparison between the intent of the two authors. 

Looking for more? Check out our other blog posts on The Crucible and The Dressmaker :

The Crucible by Arthur Miller

The Dressmaker by Rosalie Ham

Comparing The Crucible and The Dressmaker

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

Introductions

Clint Eastwood’s 2009 film ‘Invictus’ centers on the events following the election of Nelson Mandela, South Africa’s first black President in the post-apartheid era. The film follows President Mandela’s attempt to infuse a deeply divided country with new energy, by supporting the South African rugby team’s victorious 1995 World Cup Campaign. The unlikely bond formed between President Mandela and Francois Pienarr, the captain of the rugby team, illustrates themes of unity and reconciliation in a divided nation. The film begins with the image of a deeply divided society in 1990, as Mandela is released from 27 years of incarceration. A poignant opening scene sees Mandela drive along a long dirt road that runs between two playing fields, on one side, young black children shout excitedly as Mandela passes. On the other side, immaculately dressed white boys stare vacantly, as their coach proclaims, “This is the day our country went to the dogs.” This tumultuous period in South African history is of central concern to ‘Invictus’, as Eastwood portrays the lingering racial prejudices imbedded in this society. The film portrays the tension between the bitter resentment of black South Africans towards their former oppressors, with the fear and uncertainty of white Afrikaners under Mandela’s political leadership. Eastwood masterfully depicts the true story of the moment when Nelson Mandela harnessed the power of sports to unite a deeply divided South Africa.

Set during the Trojan War, one of the most famous events in Greek mythology, David Malouf’s historical fiction ‘Ransom’ seeks to explore the overwhelming destruction caused by war, and the immense power of reconciliation. Drawing on the Iliad, the epic poem by Homer, Malouf focuses on the events of one day and night, in which King Priam of Troy travels to the enemy Greek encampment to plead with the warrior Achilles to release the body of his son, Hector. Maddened by grief at the murder of his friend Patroclus, Achilles desecrates the body of Hector as revenge. Despite Achilles refusal to give up Hector’s body, Priam is convinced there must be a way of reclaiming the body – of pitting new ways against the old, and forcing the hand of fate. Malouf’s fable reflects the epic themes of the Trojan war, as fatherhood, love, grief and pride are expertly recast for our times.

Malouf and Eastwood both depict societies on the brink: Troy faces annihilation by the Greeks, while South Africa faces an uncertain future as it emerges from the injustices of the apartheid era, both worlds are in dire need of true heroes to bridge the great divide. Together, these two texts echo the significance of hope in the enactment of change. To learn more, head over to our full Ransom Study Guide (covers themes, characters, chapter summaries, quotes and more).

The power of shared human experiences

Both texts are centrally concerned with the significance of the universal experiences of love, loss, grief and hope to unite a divided people. Both Invictus and Ransom explore how societal forces divide people into different, often conflicting groups – whether this be race, history, culture, or war. Each text appeals to the universal experiences that define the human condition, and emphasise the significance of opportunities to cross-cultural divides.

In ‘Ransom’, Malouf is centrally concerned with the theme of fatherhood. This concept links the mortal and godly realms, which King Priam straddles over the course of his journey. The relationship between Priam and Somax illustrates this complex theme most clearly. The two men, despite being deeply separated by their class, education and power, share their common familial experiences. Priam confronts the poignancy of their shared experience of losing sons, questioning whether it “meant the same for him as it did for the driver”. Malouf thus presents Priam as initially lacking in terms of his understanding, Somax’s friendship and stories are the catalyst for Priam to engage in deeper, empathetic understanding. Somax’s trivial yet symbolically significant story about the griddle-cakes represents a moment of anagnorisis for Priam, wherein the shared bond of humanity in fatherhood allows Priam to obtain insight, and progressively grow as a human and as a leader. This incident fuels the journey to appeal to Achilles “man to man”, Priam’s insight into the power of empathy allows him to appeal to their shared bond as suffering fathers.

Just as Priam goes to Achilles “as a father”, using their common quality, fatherhood, to further understand each other, Mandela, too, emphasises the point that you must “know [your] enemy before [you] c[an] prevail against him” and thus he “learned their language, read their books, their poetry”. Mandela attempts to unite Black and white South Africans, despite the mutual animosity and distrust fostered by decades of apartheid. Black and White South Africans share almost nothing in common, with significant cultural and societal barriers to their reconciliation, including different dialects. Rugby emerges as the most poignant manifestation of this divide as the White South Africans support their national team, but the black south Africans barrack for the opposing side. The scene wherein Pienarr and Mandela meet over tea is symbolic of this sentiment of fostering unity amongst deep divisions. President Mandela literally hunches over to pour the tea for Pienaar, this inversion of status demonstrates his willingness to reduce his dignity as a superior and speak with Pienarr, and by extension, white south Africans, on an equal level, modelling an example of how race relations in his nation should be carried out. This equality is also symbolised by the passing of the tea to Pienaar, the close up shot where both arms of the individuals are depicted on an equal level reinforces this sense of mutual equality and respect, extolling the virtues of empathy and integrity as a uniting force.

Leadership and Sacrifice

Mandela and Priam symbolise how leadership must inevitably entail familial sacrifices. Both leaders self-identify with their nation and people. Priam embodies Troy itself, his body is the ‘living map’ of the kingdom.  The ‘royal sphere’ he embodies is constrained by customs and tradition, full of symbolic acts that separate him from the mortal world. To an extent, these royal obligations and ritual suffocate Priam’s individuality and he is unable to show his true nature, or connect with his family in the way he would desire to. He regards intimate relationships with his children as “women’s talk” that “unnerves him” as it is not “his sphere”. This articulation of the disassociation of the “royal sphere” with natural human bonds of family reveals the secondary role that family and love must take when one’s role as a leader is paramount. Similarly, Mandela claims “I have a very big family. Forty-two million people”. Unlike Priam, Mandela seeks human connection, predicating his leadership on democratic ideals. This takes a physical and emotional toll, as shown by Mandela’s collapse in his driveway. The cost of leadership here is evident, as Mandela has effectively sacrificed his family for the good of his nation. His strained relationship with his daughter Zindzi further reinforces this, as she disapproves of Mandela reaching out to Pienarr, likening him to one of the white “policeman who forced (her) out of her home”, showing the disconnect between father and daughter due to the sacrifices necessitated by Mandela’s life of leadership, including his 27 year imprisonment.

Fatherhood and Masculinity

In ‘Ransom’ Malouf presents an enclosed, limited and unemotional masculine world, with particularly stringent expectations for men’s behaviour. This is a world characterised by war, wherein the expectations of violent masculinity are paramount. In presenting Achilles inside of “a membrane stretched to a fine transparency”, Malouf reveals the constant tension between the emotional, domestic human nature inside Achilles and the hierarchical violent external society that he is expected to abide by, revealing the constricting nature that the society has on defining men’s actions. Malouf uses words like “knotted” and “rope-like” when describing Achilles’ muscles, implying that his conventional great strength, the source of his fearsome reputation, represents a confinement that the society enforces on him and other men. Further, through a degree of compassion, Priam is able to touch the “sore spot whose ache he has long repressed” in Achilles, a symbol of the emotions that have been supressed by the dominant patriarchal nature of this society.

Whilst the world of ‘Invictus’ is less overtly masculine and patriarchal, the narrative of the film is primarily focused on the male experiences, with female characters assuming a largely secondary role. Zindzi’s strained relationship with her father exemplifies the sacrifices involved in leadership. Whilst Mandela is seen to have sacrificed a close connection with his daughter, this is suggested to be in service of the nation, “I have a big family. Forty two million people”.

Character analysis and comparison

Character analysis/comparison.

- aging king of troy

- individuality has been subsumed by the ceremonial functions of his high position

- self-identifies with nation

- life of obligation

- foregoes convention and embraces chance with his proposal to offer ransom for his son’s body

- becomes more attuned to the natural world

- gains a greater appreciation of his true self as a man, rather than a symbolic figurehead

- historic figure, symbol of peace

- spent 27 years in prison for sabotage and conspiracy to overthrow the government while he was trying to gain civil rights for all south Africans

- tackled institutionalised racism, poverty and inequality

- suffered under apartheid

- pursues reconciliation, prepared to face down calls for retribution

- in his speech to the sports council, he defends the traditions of the people who persecuted him

- interacts easily with people of all social standings

- charismatic, in touch with the people

 Comparison

- embody essential role that leadership plays in achieving just resolutions to conflict

- sacrifice family for leadership

- illustrate that effective leadership takes a toll on the individual

- exemplify that reconciliation requires unexpected and difficult acts. Such as Mandela’s embrace of the Springboks and Priam’s appeal to Achilles “man to man”

- both show effective leadership involves expressing empathy and understanding the humanity of your enemies

Literary and cinematic techniques

- In one of the first scenes in Mandela’s office after he is elected President, Eastwood strategically frames the racial segregation and tension between the two groups via the mise-en-scene; they stand on separate sides of the room, wearing distinctly different clothing and calling Mandela either “Mr President” or “Madiba”, representative of their own identity. The lingering tension between the two groups permeates the entirety of the film, and the microcosm of the bodyguards acts as a symbol of the chasm within the wider nation.

- The deeply symbolic scene wherein Mandela and Pienaar have tea, Eastwood strategically uses a close up shot to frame the passing of the tea cup so that both arms of the individuals are depicted on the same level, reinforcing this sense of mutual equality and respect. It is this sharing of hope that ignites Pienaar to reciprocate Mandela’s egalitarian actions. As Pienaar brings a ticket for Eunice, recognising that “there’s a fourth” family member, he mimics Mandela’s value that “no one is invisible”. Consequently, it is demonstrated that regardless of skin colour, characters reciprocate Mandela’s empathy and compassion, revealing the limitless power such human qualities to reach across the boundaries of division.

- The wide shot of the passing of the trophy from Mandela to Pienaar is framed against the large crowd, metaphorically representing South Africa’s support with the unity of the black and whites, reflecting Mandela’s desire to “meet black aspirations and quell white fears”. Their diegetic cheers work to create the idyllic depiction of the lasting power of this change, implying the true limitless nature of hope in their society.

Learn more through Caleb (English study score 47) about Invictus Film Technique Analysis - How Can I Write About It?

- Priam’s moment of anagnorisis in which he discovers the concept of “chance”, marks the beginning of his enactment of change through the power of hope. Despite his family who wishes that he would “spare [himself of] this ordeal”, Priam’s vision guides him to overcome familial and societal obstacles in pursuit of reconciliation.

- Symbol: Griddlecakes – represent pleasure in common things, but also the growing realisation within Priam of his distance from such pleasures. The love and care with with Somax’s daughter cooked the cakes has a value that surpasses the conventional riches associated with the ruling elite. This is a catalyst for a moment of realisation for Priam.

For many VCE Students, Language Analysis is most commonly their ‘weakest’ section out of all three parts of VCE English. Throughout my years of tutoring, when I’ve asked these students  why  they struggle, they usually blame the difficulty in grasping the  most  important component of Language Analysis:

Understanding  how   the author  intends  to persuade their readers.  

You’ll see that I have italicised the words, ‘how’ and ‘intends’ in the above statement to highlight where your focus needs to be. If you’re currently trying to get your head around Language Analysis, or if you don’t understand where you’re going wrong, don’t worry. We’re going to look at the incorrect assumptions students make about Language Analysis, how to avoid it and also what you  should  do instead! So first, let’s have a look at a couple of common student errors. Students (including yourself perhaps) may believe that:

1. Language Analysis is about  finding  language techniques that persuade readers.

Stop right there! This certainly isn’t a treasure hunt ( but that would be pretty awesome right? ). If an essay was just about identifying language techniques, everyone would get an A+ ( we wish! ). Once you’ve had some practice under your belt, you’ll notice that anyone can find rhetorical questions, inclusive language and statistics, so there is a lot more to it than simply pointing out language techniques. Also, steer clear from throwing in all the possible language techniques you’ve found in an article too, because it’s not a competition about who can find the most techniques and even if you did, it doesn’t guarantee you an amazing score on your essay.

2. Language analysis is about  if  authors successfully persuade their readers.

Sorry to tell you, but this definitely isn’t it either. Our job as the student isn’t to figure out whether or not the author successfully persuades their reader. You can’t really speak for all the people reading an article if they do or do not agree with the author’s contention. Just like if you see an advertisement on television for MacDonalds, you can’t tell if the next person who watches the ad will be persuaded to go out and buy a Big Mac meal. That’s why at the end of the day, it’s not up to you to figure out the extent to which the author persuades their readers. So in that case, what should you be doing instead?

The ultimate goal is to demonstrate your understanding of how the author attempts to persuade the reader to agree with his or her contention.

Let’s break up the essential parts of analysing language so we can pinpoint exactly the part that is most problematic and also how we can finally get a strong grasp of how to be successful in this area:

The  TEE  rule

—Technique  – what  persuasive technique  is used?

—Example  – which  text  that shows it?

—Effect  – what is the  intended impact  on readers’ attitudes?

1. Technique 

There are so many persuasive techniques around, once you’ve got your hands on a bunch of language technique lists then you’re pretty much set in this area. Be wary however, as I have mentioned in the past (and above)  how simply ‘labelling’ language techniques is not enough for you to do well in language analysis.

This is quite frankly, the easiest part of Language Analysis! All you need to do is quote your evidence! Straightforward? If quoting is not your forte, you can check out:  how to embed quotes in your essay like a boss

3.  Effect 

Ok, this is the core of most students’ issues. We already know that the author is trying to persuade readers but here, we’re going to look how their choice of words or phrases creates a certain  effect  on readers so that they will be encouraged to agree with the author. When thinking about the effect, the best way is to put yourself in the reader’s shoes – you are after all, a reader! So in order to understand the effect think about the following three points:

• What readers may feel – emotions
• What readers may think – thoughts
• And what readers may want – wishes

Example 1: “You are my smartest friend, I’m really stuck on this question and I need help!”

—Think about it realistically. If someone said this to you, how would you feel? There must’ve been a time where you were complimented (whether it be about your clothes, how you did something well, or how friendly you are with others), and you used this experience to your advantage. Each time you analyse a language technique, contemplate on what emotions, thoughts or wishes emerge as a result. When someone gives you a compliment, you probably feel flattered, or maybe even proud. And this is exactly what you need to include in your analysis! You should garner these everyday experiences as a trigger to help you understand how readers may respond to a certain technique. So if we broke it down via the TEE formula:

T echnique: Compliment

—E xample: “You are my smartest friend, I’m really stuck on this question and I need help!”

— E ffect: You feel feel proud and as a result want to assist your friend.

And let’s put it all together coherently and concisely:

Analysis: The compliment, “You are my smartest friend, I’m really stuck on this question and I need help!” encourages the listener to feel a sense of pride and this in turn, may encourage them to assist their friend.

Example 2: “The pet puppy was stuck inside a car on a 32 degree summer day, with no windows left open, and no room for fresh air.”

Again, think about the three points – how do you feel? What do you think of this scenario? What do you want as a result? You probably feel sorry for the puppy and want to save it from this situation.

—T echnique: Appeal to sympathy

—E xample: “The pet puppy was stuck inside a car on a 32 degree summer day, with no windows left open, and no room for fresh air.”

— E ffect: You may feel that it is unfair for the puppy to be in such a horrendous and potentially life-threatening situation.

Analysis: Through the appeal to sympathy, “the pet puppy was stuck inside a car on a 32 degree summer day, with no windows left open, and no room for fresh air”, readers may believe that it is unfair for the puppy to be subjected to such a horrendous and potentially life-threatening situation and thus, may be persuaded to take action to prevent further harm to pets.

Ultimately, focus on the potential effect language can have on the reader and as a result, how this may encourage the reader to agree with the author. If you do that, then you’re definitely on the right track. If this study guide has helped you gain further insight into Language Analysis, then you may be interested in my upcoming workshop where I spend a few hours offering advanced advice on Language Analysis! No matter what scores you have been attaining in Language Analysis, whether high or low, my workshop is loaded with tips which will undoubtedly help you achieve the best you possibly can. You are welcome to register here:  VCE English Intensive Spring Break Workshop . Join the Facebook event  here  today to keep updated on all the latest information in the lead up to the workshop and invite your friends!

• 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 . 

Get exclusive weekly advice from Lisa, only available via email.

Power-up your learning with free essay topics, downloadable word banks, and updates on the latest VCE strategies.

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Black Hat and DEF CON

Ransomware groups are better at web app security than you, says researcher

Could we please start taking this seriously.

Black Hat One would hope that, after years of telling businesses to secure their systems, enterprises would have better web app security than cybercriminals do. But research presented at Black Hat this week suggests that's not the case at all. 

Vangelis Stykas , CTO and cofounder of penetration testing firm Atropos, told The Register that, in his experience of trying to hack web applications (his speciality), ransomware actors are far better at security than their enterprise targets. 

"I've tested 135 [ransomware] websites, and I only found vulnerabilities in three of them," Stykas told us in an interview preceding his Black Hat talk . That amounts to less than 3 percent of ransomware groups having vulnerable web applications, which are typically used by threat actors to dump stolen data and publish ransom notes. 

"That's not typical of businesses, where I usually find vulnerabilities in 40 to 50 percent of web apps," Stykas added. 

And that's not great, is it?

BlackCat busted

For context, Stykas did manage to work his way into web portals controlled by some pretty high-profile groups, including ALPHV/Black Cat, as demonstrated in his presentation. 

After days of continuous scanning of ALPHV's C2 URLs to see which came online, Stykas told us he was able to get one of the servers to dump its documentation for clients and tasks, which in turn allowed him to dump the server's tasks and create new ones. That server quickly went offline, but armed with knowledge of the group's API gleaned from his intrusion, Stykas took action. 

"I created a Python script that parsed the endpoint … I had to wait a couple of days [for it to come online], but after that I was able to extract 197 commands in two minutes," he explained.

Stykas was then able to identify several ALPHV victims - including a couple of unicorns in the cryptocurrency space - whom he was able to contact to help them address vulnerabilities and prevent them being ransomed. 

This was in January, Stykas said. By March ALPHV/BlackCat had imploded , pulled an exit scam and mostly vanished. 

"I don't want to take responsibility for that," Stykas demurred, explaining that the high profile nature of the group made its life expectancy limited, especially after a failed December bust that put the crew on high alert. Still, "I think [my hack] put some added stress on them." 

Stykas also managed to bust into systems controlled by ransomware group Everest , who he said were running an outdated WordPress site on an end-of-life VertigoServ instance, allowing him to dump their entire database; and the group behind the Mallox ransomware family. In the latter case, Stykas was able to exploit a chat feature on the group's leak portal to identify several members of the group and steal a decryptor. 

• Blackbaud has to cough up a few million dollars more over 2020 ransomware attack
• Breaking the economy of trust: How busts affect malware gangs
• UnitedHealth's 'egregious negligence' led to Change Healthcare ransomware infection
• Ransomware continues to pile on costs for critical infrastructure victims

Stykas told us he had snuck into a fourth ransomware group's web portal, but wasn't ready to disclose details just yet. 

"The only bad thing during the past two years that I've been doing this is that I've started getting alerts from Google that government-backed attackers are working against me," Stykas explained. 

Not the best news to wake up to, but certainly indicative of getting cybercriminals worried. 

Now could you PLEASE secure your systems?

It's no surprise that ransomware gangs are better at securing their external-facing websites - after all, they're filled with people either able to crack such sites or at least folks concerned they could be subject to the same abuses. 

So while it's definitely satisfying to turn cybercriminals' tactics against them, hacking ransom websites might not be the most reliable way to counter threat actors. 

"This could be fruitful if you were doing it as a government, or a company with lots of people," Stykas told us - otherwise it's probably just a waste of time. "I did this in my free time, and I assume I spent around 100 hours." 

In other words, please take a lesson from the criminals trying to bust into your websites and other internet-facing systems and lock them down. That, or accept the fact yours may be the next victim we write about as a warning to others. ®

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US elections have never been more secure, says CISA chief

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The Ransom of Red Chief

By o. henry, the ransom of red chief essay questions.

What is the significance of the games Johnny plays?

From the first night of his abduction, Johnny engages in games of make-believe that may seem innocuous to his captors but in fact precipitate the downfall of the kidnapping scheme. Johnny's first game is pretending to be Red Chief, a Native American warrior. In the game, Johnny role plays an ironic reversal of his kidnapping, pretending that Sam and Bill are prisoners he has taken captive. The men play along, seeing no harm in entertaining Johnny's hyperactive imagination. However, the boundary between make-believe and reality blurs as Johnny commits himself to the role of Red Chief, nearly removing Bill's scalp with the same knife the kidnappers use to slice bacon. Johnny proceeds to terrorize Bill, throwing rocks at his head, and putting a hot potato down his back. Johnny's next game—The Black Scout—involves Bill having to pretend to be Johnny's horse. After Johnny rides on Bill's back and forces him to eat sand he is meant to imagine is oats, Bill loses his patience and tries to abandon Johnny on the road back to the boy's town. The full significance of Johnny's games of make-believe is revealed when the boy's father proposes a counter-ransom that involves the men paying him to take his son back. By this point in the story, Bill has been so exhausted and traumatized by Johnny's abusive style of playing that he pleads with Sam to accept Dorset's offer—an offer which Bill believes is not just fair, but generous.

What is the central conflict of "The Ransom of Red Chief"?

The central conflict of "The Ransom of Red Chief" is that the boy Sam and Bill kidnap is so hyperactive and mischievous that the boy's father doesn't want him back. In an ironic inversion of how the men expect their kidnapping for ransom will go, Johnny doesn't fear his captors, instead preferring their outlaw company and willingness to play make-believe with him over the boredom of his regular life. The conflict is made worse by Sam's over-confidence in the scheme despite mounting evidence that they have targeted the wrong boy. While Johnny's violent behavior drives Bill crazy, Sam remains committed to the kidnapping plan, unwilling or unable to entertain what Bill suspects—that no one "will pay out money to get a little imp like that back home." By the end of the story, the men have held Johnny captive long enough that he has grown attached to them. Assuming this turn of events, Dorset is able to exploit the situation to get money from the men—a reverse-ransom—in exchange for taking his son back.

How is "The Ransom of Red Chief" an example of poetic justice?

Poetic justice—meaning a fitting retribution for one's actions—is a central theme in "The Ransom of Red Chief." O. Henry illustrates the concept through a reversal of fortunes that involves two kidnappers becoming traumatized by their captive and paying a reverse-ransom to get the boy off their hands, a punishment that perfectly fits the men's crime. O. Henry achieves this profound irony by having the over-confident kidnappers meet their match in a fiery ten-year-old. Although they expect to make a quick two thousand dollars by abducting Johnny Dorset and holding him for ransom, the boy's spirited style of playing and asking incessant questions drives the men to their wit's end. Johnny's father, being accustomed to his son's behavior, exploits the situation by assuming correctly that the men would pay for the privilege of giving Johnny back. At the end of the story, O. Henry reinforces the theme of poetic justice with the image of Bill summoning the energy to run out of town far faster than he ought to be capable of doing, all because he is so desperate to get away from the boy.

The Ransom of Red Chief Questions and Answers

The Question and Answer section for The Ransom of Red Chief is a great resource to ask questions, find answers, and discuss the novel.

Why do Bill and Sam agree to the terms of Mr. Dorset's letter in "The Ransom of Red Chief?" Can you give me a quote to prove why they agree?

Bill and Sam are thinking that the keeping the boy any longer is not worth the $2000 ransom. The boy is so rambunctious and annoying that Bill can barely stand it. In fact, at one point, Bill actually tries to return the boy at one point. They...

the ransum of red chief

That is because Red Chief is causing them too much stress. Little Red Chief is more trouble than he is worth.

Why would Bill be willing to take less money than originally intended?

Study Guide for The Ransom of Red Chief

The Ransom of Red Chief study guide contains a biography of O. Henry, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About The Ransom of Red Chief
• The Ransom of Red Chief Summary
• Character List

Lesson Plan for The Ransom of Red Chief

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to The Ransom of Red Chief
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• The Ransom of Red Chief Bibliography

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Who Are the Far-Right Groups Behind the U.K. Riots?

After a deadly stabbing at a children’s event in northwestern England, an array of online influencers, anti-Muslim extremists and fascist groups have stoked unrest, experts say.

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By Esther Bintliff and Eve Sampson

Esther Bintliff reported from London, and Eve Sampson from New York.

Violent unrest has erupted in several towns and cities in Britain in recent days, and further disorder broke out on Saturday as far-right agitators gathered in demonstrations around the country.

The violence has been driven by online disinformation and extremist right-wing groups intent on creating disorder after a deadly knife attack on a children’s event in northwestern England, experts said.

A range of far-right factions and individuals, including neo-Nazis, violent soccer fans and anti-Muslim campaigners, have promoted and taken part in the unrest, which has also been stoked by online influencers .

Prime Minister Keir Starmer has vowed to deploy additional police officers to crack down on the disorder. “This is not a protest that has got out of hand,” he said on Thursday. “It is a group of individuals who are absolutely bent on violence.”

Here is what we know about the unrest and some of those involved.

Where have riots taken place?

The first riot took place on Tuesday evening in Southport, a town in northwestern England, after a deadly stabbing attack the previous day at a children’s dance and yoga class. Three girls died of their injuries, and eight other children and two adults were wounded.

The suspect, Axel Rudakubana , was born in Britain, but in the hours after the attack, disinformation about his identity — including the false claim that he was an undocumented migrant — spread rapidly online . Far-right activists used messaging apps including Telegram and X to urge people to take to the streets.

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Ransom - Free Essay Examples and Topic Ideas

The term “kidnapping” refers to the taking or abduction of an individual against his or her will, usually followed by some duration of captivity (Kim, 2018). When one hears someone was kidnapped, they assume the individual is a child. That is a fair assumption since every 40 seconds, a child goes missing in the US and it is estimated approximately 1,500 of those children who go missing are victims of a kidnapping (Kim, 2018). However, there are times when adults are the ones who are kidnapped. An individual may be kidnapped for several reasons, but the most common are for a demand of ransom payment or as a political terrorist event.

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Introduction

In early 1970s, leftist guerrillas in Argentina discovered a new way to make money, kidnap millionaires. Panicking firms would agree to huge ransoms, more concerned with freeing their executives than driving down the fee. This, however, is not a new way to make money. Kidnap for ransom has been seen countless times in history, ranging from nomad tribes, the 1800s, all the way to present day. Children, CEO’s, missionaries, migrants, and other innocent people are taken from their families as a criminal group’s idea of a quick buck. This paper will examine the criminal enterprise of kidnap for ransom, the historical origins of the crime, the different organized crime groups that commit kidnap for ransom, global trends, and a criminological theory that attempts to explain why criminal commit kidnap for ransom.

Kidnapping for Ransom: A Criminal Enterprise

The term “kidnapping” refers to the taking or abduction of an individual against his or her will, usually followed by some duration of captivity (Kim, 2018). When one hears someone was kidnapped, they assume the individual is child. That is a fair assumption since every 40 seconds, a child goes missing in the US and it is estimated approximately 1,500 of those children who go missing are victim of a kidnapping (Kim, 2018). However, there are times when adults are the ones who are kidnapped. An individual may be kidnapped for several reasons, but the most common are for a demand of ransom payment or as a political terrorist event.

There are many different types of kidnapping, such as tiger kidnapping, political kidnapping, and virtual kidnapping. To briefly describe these types of kidnapping, tiger kidnapping is when a hostage is coerced into committing a desired action for the criminal/criminal group. For example, the hostage may have to open a bank vault for the criminal to rob a bank or open an office after hours so they can access the building to commit their crime. Political kidnapping occurs when the hostage is taken for political or ideological impact. These hostages may be bargaining chips for prisoner release or propaganda purposes. Lastly, virtual kidnapping is when the hostage is never actually physically taken and is typically a scam. In most cases, the criminal calls a family member or employer, stating they have the person and need the money to release them; however, the individual they claim to have is not actually there (OSAC, 2017).

Kidnapping for ransom, however, involves the criminal/criminal group leveraging the hostage in order to receive a payment from their family, employer, or country in exchange for their release. Kidnapping for ransom is a major source of income for criminal gangs or people in certain countries that rely on the ransom money to finance their operations. Ransom kidnappings are on the rise worldwide and are so common in certain regions that local companies and criminal groups have a mutually agreed- upon “market price” for kidnapping ransoms. Foreigners especially are targeted due to their assumed high relative wealth and the incentive of a large government ransom payment (OSAC, 2017).

Originating Country and History

Stories of individuals being kidnapped and laws put in place to deter kidnappings have been found as far back as three thousand years, where it was written in ancient Jewish law that anyone who kidnaps another individual and either sells them/has them when he is caught must be put to death. The earliest English kidnapping law that could be found was called ‘plagium’ and it was punishable by death. Also, the term kidnapping is said to have become prominent in English law in the late 1600s, where it referred to the abduction of persons who were transported to the North American colonies for slavery. The focus of these early laws seems to be focusing on the transportation of someone against their will to a different place. Granted, given how travel was in the 1600s, being taken to another region was likely to be a permanent move, so it is not absurd for the focus to be on transportation rather than the actual taking of an individual (n.a., 2019).

While that history does not specifically mention ransom money being utilized, more research was conducted to find the first uses of ransom notes in history. It was found that in 1874, two boys were taken from their home in Philadelphia. That day, one of the boys was given back to the parents; however, the other boy was not, at which time the ransom notes started coming. In 2013, a librarian in Philadelphia found the twenty-two letters addressed to Christian Ross, demanding he give them $20,000 dollars for their son’s release (Hagen, 2013). Again, this does not necessarily display the exact origins of a ransom note since one can assume there were other cases of this well before the 1800s. However, this does demonstrate the first known, documented case of ransom notes being used for a kidnapping in America.

Transnational Crime Groups Engaging in Kidnapping for Ransom

This section will discuss different organized crime groups that have engaged and/or still engage in kidnapping for ransom. These few groups mentioned are not the only ones that currently engage in this criminal behavior; however, these are the groups that have recently made national headlines for committing kidnapping for ransom crimes.

Drug Cartel Gangs in Mexico

Gang violence in Mexico and many other South American countries is, unfortunately, becoming something people cannot escape. Taking matters into their own hands, they are fleeing their own country in hopes of finding a safer place for themselves and their families. Sadly, their good intentions are sometimes taken advantage of by drug cartels looking to make money. Recently, one hundred members of the migrant caravan traveling through Mexico were kidnapped by the Zetas gang, one of the most powerful criminal gangs in Mexico. After kidnapping the migrants, the gang members call their family, some of which already made it to America, and extort them for money to fuel their enterprise (Bonello, 2018).

Kidnappings for ransom have increased over the recent years in Russia, especially among the elite or rich. Viktoria Teslyuk, the daughter of a top executive at Russia’s biggest privately-owned oil company, was kidnapped on her way to a tutoring session and was later found dead. Around this same time, Ivan Kaspersky, the son of the founder of a leading computer security company, was kidnapped on his way to work. Shortly after his disappearance, the kidnappers demanded 3 million euro as ransom (Elder, 2011). These kidnappings for ransom were not found to be criminal organizations; however, there are cases of such happening, such as when five bodies were found in Southern California. The five people, who were of Russian descent, were kidnapped as a part of a kidnap-murder plot that was linked to the Russian mafia in 2002 (Feldman, 2002).

Global Trends

The thought of you, or one of you family members, being kidnapped can be enough for people to not want to travel or leave the comfort of their own home. For those individuals who have large assets, are working for a large corporation, are a political diplomat, etc., there are ways to protect yourself and your family in the event of being kidnapped. Kidnap insurance can be purchased by individuals, corporations, missionary groups, financial institutions, etc. This insurance, unfortunately, does not actually protect you from being kidnapped; however, it is designed to reimburse you the loss of the ransom paid to the kidnapper. As mentioned in the award-winning Vanity Fair article that discusses the K&R trade, the cost of insurance can be steep, ranging from $4000 dollars a day when the negotiating begins (Prochnau, 1998).

Criminological Theory

Rational Choice Theory (RCT) is one criminological theory that attempts to explain why an individual decides to commit a kidnap for ransom crime. RCT assumes individuals are rational, self-interested beings that are affected by the consequences of their actions. This theory stated individuals who choose to commit a crime choose to because they believe the rewards will outweigh the consequences and they will be able to gain their reward faster than engaging in non-criminal behavior (Akers, 2013). When examining kidnapping for ransom, one can see how the rewards could outweigh the consequences. If the kidnapper is good with technology or knows how to thoroughly hide their identity, there is a high chance they might not get caught, especially once they have their ransom money and there is no more need for the kidnapped individual. There have also been many cases where the kidnappers were never found, which fuels the assumption that they will not be caught and makes it more enticing to commit a kidnap for ransom crime.

Kidnapping is a global and historic issue in many parts of the world and many governments are doing as much as they can to ensure that the kidnappers are captured and punished. However, there are so many different criminal organizations that have/can commit this crime, as well as many different reasons why they could kidnap someone for ransom, making it difficult for law enforcement and government to combat this. As more light is shed on these acts of crime, societies should take it upon themselves to look into how they can help aide in the solution for this major transnational issue.

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