HSC Study Day: ADV Craft of
Writing
“Write what should not be forgotten.”
—Isabel Allende
Success Criteria
●
Learning Intention
●
To refine and consolidate
our understandings of The
Craft of Writing
●
I can recall the context,
form and features of the
texts to to share a
‘surface’ knowledge.
I can interpret and
analyse key parts of text
demonstrating my ‘deep’
knowledge.
I can evaluate and
synthesise and create the
text to exhibit my
‘transfer’ knowledge.
What’s the plan?
1. Understand and
organise the different
kinds of knowledge we
will need to have for
strong responses
2. Consider the key parts
of the Rubric
3. Check our knowledge of
the texts and forms
4. Explore responses to
how they show off
knowledge on various
levels
Surface, Deep and Transfer knowledge?
Transfer
Applying
Understanding
Deep
Making
Meaning
Surface
Building
Knowledge
Guided Study Notes
The Module
In this module, students strengthen and extend their knowledge, skills and
confidence as accomplished writers. Students write for a range of audiences and
purposes using language to convey ideas and emotions with power and precision.
Students appreciate, examine and analyse at least two short prescribed texts as
well as texts from their own wide reading, as models and stimulus for the
development of their own complex ideas and written expression. They evaluate how
writers use language creatively and imaginatively for a range of purposes; to
express insights, evoke emotion, describe the wonder of the natural world, shape
a perspective or to share an aesthetic vision.
Through the study of enduring, quality texts of the past as well as recognised
contemporary works, students appreciate, analyse and evaluate the versatility,
power and aesthetics of language. Through considered appraisal and imaginative
engagement with texts, students reflect on the complex and recursive processes
of writing to further develop their self-expression and apply their knowledge of
textual forms and features in their own sustained and cohesive compositions.
Continued…
During the pre-writing stage, students generate and explore various
concepts through discussion and speculation. Throughout the stages of
drafting and revising students experiment with various figurative,
rhetorical and linguistic devices, for example allusion, imagery,
narrative voice, characterisation, and tone. Students consider purpose,
audience and context to deliberately shape meaning. During the editing
stages students apply the conventions of syntax, spelling, punctuation
and grammar appropriately and effectively for publication.
Students have opportunities to work independently and collaboratively to
reflect, refine and strengthen their own skills in producing highly
crafted imaginative, discursive, persuasive and informative texts.
Note: Students may revisit prescribed texts from other modules to
enhance their experiences of quality writing.
They evaluate how writers use language creatively and imaginatively for a range of purposes; to express insights, evoke
emotion, describe the wonder of the natural world, shape a perspective or share an aesthetic vision
Father and Child - Gwen Harwood (Poems 1969 – 1974)
Daybreak: the household slept.
I rose, blessed by the sun.
A horny fiend, I crept
out with my father's gun.
Let him dream of a child
obedient, angel-mind-
old no-sayer, robbed of power
by sleep. I knew my prize
who swooped home at this hour
with day-light riddled eyes
to his place on a high beam
in our old stables, to dream
They evaluate how writers use language creatively and imaginatively for a range of purposes; to express
insights, evoke emotion, describe the wonder of the natural world, shape a perspective or share an
aesthetic vision
Harwood, in her poem Father and Child, describes a
scene of a child creeping out of their house and
preparing to use their father’s gun to shoot and
kill an owl. She portrays this scene to express
insight into the development of a child and the
growth that occurs as they move closer to the
adult stage. In this poem, the child attempts to
usurp the power of the father, by rising early
“old nay sayer, robbed of power by sleep” and
doing the deed. However, the poem clearly suggests
that the child is not yet capable of such an adult
and cruel – like act. Harwood is illuminating how
a child can grasp too soon for independence,
before they are ready, either emotionally or
socially, and as a result, create damage to
themselves and those around them.
They evaluate how writers use language creatively and imaginatively for a range of purposes; to express insights, evoke
emotion, describe the wonder of the natural world, shape a perspective or share an aesthetic vision
Imagine you are writing a short piece for primary school
newsletter. Create a text that seeks to explain how
children and teenagers seek to push boundaries and test
their independence as they develop and grow.
Include an example from your own experiences growing up.
They evaluate how writers use language creatively and imaginatively for a rangE of purposes; to express insights, evoke emotion, describe the wonder of the
natural world, shape a perspective or share an aesthetic vision
Eulogy for Gough Whitlam – Noel Pearson (2014)
And the Prime Minister with that classical Roman mien, one who
would have been as naturally garbed in a toga as a safari suit,
stands imperiously with twinkling eyes and that slight
self-mocking smile playing around his mouth, in turn infuriating
his enemies and delighting his followers.
There is no need for nostalgia and yearning for what might have
been.
The achievements of this old man are present in the institutions
we today take for granted and played no small part in the
progress of modern Australia.
They evaluate how writers use language creatively and imaginatively for a rang of purposes; to express insights, evoke emotion, describe the wonder of the
natural world, shape a perspective or share an aesthetic vision
Pearson’s eulogy for ex Prime Minister Gough Whitlam
uses language to share a perspective on his subject.
Pearson does this by imaginatively developing a picture
in the audience's mind that portray the subject in a
certain way. “And the Prime Minister with that
classical Roman mien, one who would have been as
naturally garbed in a toga as a safari suit, stands
imperiously with twinkling eyes…” displays Pearson’s
use of language, using the symbolism and images of
Ancient Rome, to share a perspective of Whitlam as a
loving, protecting Roman Emperor. This empirical view
of the subject allows his legacy to be understood in a
more defined way. Whitlam is described as a champion of
the people, legislating education and health care
reforms, all under the perspective of a benevolent
Roman Emperor
They evaluate how writers use language creatively and imaginatively for a range of purposes; to express insights, evoke emotion, describe the wonder of
the natural world, shape a perspective or share an aesthetic vision
Identify a social cause that you have a passion or interest for.
Examples include
•
Mental health
•
Gender concerns
•
Religious freedoms
•
Youth opportunities
•
HSC requirements
•
Financial support for teenagers
•
Peer pressure today
•
Media/ celebrity role models
The Task: What did we do?
Part A:
Compose a piece of imaginative, discursive or
persuasive writing utilising ONE element from one of
the texts studied in class as a stimulus for a piece
where an individual experiences a challenge.
This needs to be relevant
to your stimulus story
and crafted and you need
to show if creative
artistry i.e. language
techniques, structure,
characterisation
Part B:
Explain how an element of your stimulus text has
influenced your piece of writing
This needs to explain technically
how the work and the element have
influenced the way you shaped
meaning
What are some key things to note crafting
our Writing?
Your Writing
• The content needs to be developed considering the
plot/events/characters of your stimulus texts
• Represent don’t report or recount
• Frame it! Use a structure other than linear or use
flashbacks and segues, cyclical
• Keep it in the family relative reference- don’t write
left of field metaphors or similes
• Don’t let the reader think for themselves
Reflections
Don’t just say what…. tell me how and why
How have you shaped meaning? Prove it with evidence or
clear specific references
• Don’t let the reader think for themselves
•
•
Where is it all going?
Other examples
Example
Imaginative Responses
Discursive Responses
Persuasive Responses
Sound (4-6)
The response developed a narrative voice to explore events and situations related to a concept. The stimulus was
referenced in the text, though often in an unimaginative way. Plot events and characters often lacked originality.
Responses often had characters simply retell events and recount feelings about events and their discoveries.
∙
The response developed a narrative voice that was not always convincing or developed authentically.
∙
Plot complications were often predictable or clichéd. Events were often recounted as a series of events,
sometimes over a long period of time.
∙
The response illustrated an important change in the character’s, though this character wasn’t explored in depth.
∙
The response referred to the stimulus, but often literally through undeveloped or stereotypical characters. The
reference was often tagged on at the end.
∙
Ideas were explored, but often without a focus. Characters discussed their situations rather than showing
through narrative events/situations.
∙
The narrative was likely to use a linear in structure.
∙
The response used language in a clear but often simplistic way with few stylistic features (e.g. Use of imagery
and figurative language). The metaphors and similes were often not suited to what was being described.
∙
Language was often clichéd.
High (7-9)
The response established an engaging voice and scenario to effectively explore concepts. The stimulus image
was used in a deliberate and occasionally original way through a sustained exploration of an interesting
event.
∙
The response attempted to establish an engaging voice through sustained and original character/choices.
This often involved the development of a central character with a mature voice and outlook.
∙
The response explored a thoughtful scenario through a developed or mostly distinct character. The plot
developed logically.
∙
The stimulus image was often used creatively or at a key moment in the narrative. Responses were less
likely to use a cliché in their reference to the image.
∙
The response explored ideas often in a literal way mixed with some originality and awareness of its
complexity, though these ideas could have often been explored in greater depth.
∙
These responses often included a combination of showing and telling.
∙
The response used some language devices to sustain reader interest.
Excellent (10-12)
The response established a highly engaging voice and scenario, which skilfully explored concepts. The stimulus was
integrated seamlessly into the response through engaging and original events, structure, language choices and
expression.
∙
The response created a sustained voice by establishing a distinct, authentic, engaging personality through
idiosyncratic word choices and evocative expression.
∙
The response explored original plot complications or ideas that enriched the the text, though this was also often
achieved through an original perspective. Responses often represented different aspects, places or times of
discovery.
∙
The stimulus element was used creatively. References to the stimulus were significant within the context of the text
and are often seamless and implicit or woven in seamlessly.
∙
Responses explored ideas in sustained depth, revealing the complexity of ideas and emotions that are entailed. The
characters did not explicitly describe their feelings but rather showed the impact and nature of ideas
∙
Structurally, a variety of approaches were used, with many responses using a circular structure or flashbacks, or
occasionally multiple perspectives. Linear narratives with an effective twist or ending were also demonstrated.
∙
The response used a wide variety of language devices in an original and sophisticated way through narrative voice,
figurative language, and imagery, sentence and paragraph variety.
Handwriting?
• I sat there and thought about it real
hard, like how a kid would if he
closed his mouth and hold his nose
and push out to unblock his ears
• The sun beats down on me like an angry
ex-girlfriend with a baseball bat
• Tripping on stones the size of ants
Narrative voice
•
The narrative voice is what draws the reader
into your story.
•
A strong engaging voice sets the tone for the
piece, determines the content and direction of
the piece, and fuels the rest of the story.
•
Of equal importance, an engaging beginning
captures the reader’s interest, inviting the
reader to dive headfirst into the story.
Typical C or D range response
It was a day at the end of a month. Some
people and I were at someplace somewhere. We
did something before sometime, so it was
somewhat something when we got there and then
did something else.
•
Tone?
•
Content?
•
Direction?
•
Marker interest?
Better but…
It was September. Snow had fallen in the morning, and by
afternoon the streets of Thredbo were covered in brown slush.
Tyler walked home from the bus stop. His feet hurt because
his old shoes were too small.
•
The was and were in these sentences are not incorrect,
they are also not terribly engaging.
•
It uses declarative sentences (It was… Snow had…) and
passive voice (the streets…covered in) = GENERIC NARRATOR
VOICE
•
Rewrite sentences starting with “it was” or “there were”,
not because they are wrong, but because eliminating those
phrases almost always produces something stronger.
Rewrite
A- September in Thredbo sucked. A morning snowfall turned the whole day
cold and gray. Tyler trudged home from the bus stop that afternoon
through streets buried in brown slush. The freezing damp seeped through
the rips in his old canvas sneakers. The shoes, two sizes too small,
pinched his toes at every step.
“Looks like we won’t be going skiing today” Tyler spouted as his
stomach twisted into a knot.
B- It was September. Snow had fallen in the morning, and by afternoon
the streets of Thredbo were covered in brown slush. Tyler walked home
from the bus stop. His feet hurt because his old shoes were too small.
C/D- It was a day at the end of a month. Some people and I were at
someplace somewhere. We did something before sometime, so it was
somewhat something when we got there and then did something else.
Beginnings
•
Action: A Main Character Doing Something
•
I gulped my milk, pushed away from the table, and
bolted out of the kitchen, slamming the broken screen
door behind me. I ran down to our dock as fast as my
legs could carry me. My feet pounded on the old wood,
hurrying me toward my dad’s voice. “Scott!” he bellowed
again.
•
Verbitis can be okay so long as it’s not sustained
throughout and the verbs are engaging
•
Action based stories aren’t as effective
Unity of Voice
•
Connect events through:
•
one main protagonist with
•
one main curiosity,
•
on one main mission,
•
due to one main longing,
•
experiencing one main challenge with
•
one main discovery and
•
one main impact
Through the gray haze of rain pouring down in sheets,
I could see only the taillights on the bumper in
front of me. The highway rose, crossing over a street
below, and a gust of wind tugged the car, threatening
to pull the wheel from my grip. I could imagine that
howling storm picking up my little car like a
Matchbox toy and throwing it onto the street below. I
gripped the wheel tighter in my sweaty hands and
slowed even more, my heart pounding.
•
•
•
•
•
•
•
Do you see how the student made this more sensory?
Specific visual: rain … taillights
Context: highway
Physicality: gust of wind … tugged
Sound effect: howling
Simile: Matchbox toy
Visceral reaction: sweaty hands … heart pounding
What does it say?
Two pebbles tossed simultaneously. One skipped, one
trotted, both interfering with each other’s course of
momentum. The water excited by their dance.
Particles to waves and waves to particles, each oscillation
producing a maximum where the moon would gleam most
pronounced. The nocturnal eye watched over the two boys, it
smiled. They smiled back. Its silvery shimmer, glistening
grin reflected in the sea, disrupted by the ripples the
boys had created soon the boys would be called home for
supper but they lingered they would compete for who could
stare above for the longest, a perpetual exercise upon the
eyes and the neck. The moon was a fierce competitor and
would always win. They knew the but stared for as long as
they could.
What does it say?
With each strike of the hammer, another part of the wall came
crumbling down. Once a dominating barrier dividing the city now
chipped away as a collapsing block of mortar. Atop the wall,
meters above me there was a line of rebellious revolutionaries.
Smiling they had seen the other side. Splinters of rock pierced
the air, before eventually larger and larger blocks came tumbling
down. There was a man next to me who caught a milk bottle size
chunk of the wall. The rubble on the inside was coated with a
smooth piece of graffiti. He offered it to me. Light, it was full
of ideas from previous eras. With this piece of the wall being my
trophy I pronounced myself victorious. Elated the crowd erupted
around me. Immersed within a crowd, a captive crowd of circus
goers eagerly waiting for the main act, I could see the pens
detailing into the history books. There was a sense of amazed
recognition, for I knew we were creating an anniversary. Here, my
team and I suddenly became at home in another home. As far as
they all knew, we were Berliners!
What does it say
The network of squiggly gums gently swayed in the
offshore breeze spreading the dappled morning light
across my skin, rough with dried salt. A soft velvet
carpet of the coastal banksia leaves squelched their
way in-between my toes as we padded through the
ancient bush. There was an overwhelming sense of
recognition as the distant rumble of turbulent white
water sent minute tremors up my weary legs. My eyes
fixated on the shoulders of my childhood friend Ben.
REFLECTIVE WRITING
Justifications of Creative Writing
WHAT IS REFLECTIVE THINKING?
Reflection is:
▪ a form of personal response to experiences, situations, events or
new information.
▪ a 'processing' phase where thinking and learning take place.
▪ There is neither a right nor a wrong way of reflective
thinking, there are just questions to explore.
▪ Reflective thinking demands that you recognise that
you bring valuable knowledge to every experience.
▪ It helps you to recognise and clarify the important
connections between what you already know and what you
are learning.
WHAT IS REFLECTIVE WRITING?
Reflective writing is:
▪
▪
▪
▪
your response to experiences, opinions, events or new information
your response to thoughts and feelings
a chance to develop and reinforce writing skills
a way to achieve clarity and better understanding of what you are
learning
▪ a way of making meaning out of what you study
▪ Connecting and clarifying how your knowledge and skills have grown
through engagement and investment
WHAT ISn’t REFLECTIVE WRITING?
▪ Reflective writing is not:
▪ just reporting information, instruction or
▪
▪
▪
▪
argument
pure description of events
Simply stating decisions or judgements about
whether something is right or wrong, good or bad.
a summary of course notes
A review of quality… 5 popcorns!
WHAT STYLE SHOULD I USE?
Reflective Writing is subjective:
▪ It is reflective of the processes, decisions and reactions.
▪ It is organised logically.
▪ It is also
▪ Personal
▪ Hypothetical
▪ Creative
▪ Critical
▪ You may be:
▪ descriptive (outlining what something is or how something was
done)
▪ explanatory (explaining why or how it is like that)
▪ expressive (I think, I feel, I believe)
▪ Analytical (because)
WHAT STYLE SHOULD I USE?
Reflective Writing should:
▪ Use full sentences and complete
paragraphs
▪ You can usually use personal pronouns
like 'I', 'my' or 'we’
▪ Minimise colloquial language (eg, kid,
bloke, stuff)
▪ Still be structured with paragraph
essay/exposition styling and structure
Engagement with the process of reflection - Checklist
▪ I need to clarify my identification and interpretation of the element
that connects to my stimulus narrative, ensuring it is neither too
simplistic nor too complicated explanation.
▪ I need to outline and explain my narrative and/or the decision-making
processes more clearly through my reflection on how I have used ideas
and language (techniques)
▪ I need to justify in greater depth the reasoning behind my choice of
element/story.
▪ I need to reflect on and convey the impact of the chosen element on
my writing and/or on my depiction of an individual experiencing a
challenge.
SAMPLE 1 (not ideal!)
The story I have used as my stimulus is Wildcat by Flannery O'Connor. I have chosen the element of
physical limitations . O'Connor has used this element through an old , blind man named Gabriel who
is mocked and not taken seriously on daily basis because of his disability. O'Connor shows that even
with physical limitations a person still has worth and ability.
The inspiration I had can from a real life person that I am following on social media. His story
inspired me to write about being deaf and how it can affect someone's life. My story is about a
young man named Abel who lives in an apartment in New York with his girlfriend. Abel is
deaf and has a cochlear implant to help him hear . The story explores how he wakes up in the
morning and how he begins the day before he puts his transmitter on that enables him to hear. I
have used a flashback to provide the audience with the knowledge that he has had implants from
when he was young and that he is sensitive person who chooses to tune out from the world if
things aren't going well. This can be seen as using his disability to his advantage. I found it difficult
to expand my story after setting the scene of the apartment. It was then suggested that I
incorporate a flashback to deepen the meaning of the story and show some of the character's
backstory. I had to research how a cochlear implant works and how it would sound to someone
who has one to enable me to write a story that is accurate.
My story and Wildcat by Flannery O'Connor is effective in the using the element of physical
limitations as they both explore an individual's life with a disability. Both show that the individual is
not actually limited in their abilities but can use their disability to their advantage which can be
seen through the use of flashbacks. Gabriel relies on his strengthened hearing due to his blindness
to hear wildcats and Abel turns off his transmitter to get away from the world.
SAMPLE 2 (not ideal)
This assignment asks for an element to be selected from a stimulus to be interpreted into another story . Monkey’s Paw
had elements such as themes and descriptive language of setting . I chose the aspect of moral that shows that ‘with
good comes bad’. W.W Jacobs did this through a talisman that granted three wishes that had a bad consequence to it
each being granted. He found his motivation through exploring lives of lower class members of society in early 20th
Century . I felt that this element reflected a good foundation for a story to have meaning and symbolism maintaining a
readers’ interest.
My story begins in Outback Australia – Coober Pedy, South Australia – where tribes search for sources of food and
water as they get their rations once a week. Set in the time where Aboriginals were recognised as humans by white
civilisation but still gave food to them – 1920s Australia . These rations were beginning to decrease, people began
starving and needed to find other sources of food. One night whilst this tribe was sleeping, a random spark lights a
fire. Everyone – as they wake – notices a pearl connected to a thick bunch of horse hairs. Grass then starts growing
among the sand. Children then began to fall ill, turning into ash and being blown away by the wind. It ends with the
talisman being thrown away and glistening in the sand, waiting for its next victim, as the tribe tried to carry on with
their child-less group.
It took me a while to find a rhythm in writing. I did discover a method of writing something and leaving it to extend
details into a part earlier. I would then continue writing my story as I familiarised myself with what I was writing. A trick I
tried to master was viewing the story from a brand-new readers perspective and trying to comprehend the imagery
used as though I haven’t read it before. Vernacular Australian language was used “we don’t know whe dit came from!”
to further support the setting of outback Australia. The metaphor that I used, “in his hands, dry like a raisin.” created
imagery along with descriptive language “outback’s blistering red sand” describing the setting. I wrote my story like this
because I wanted to provide my audience another perspective on this moral and describe it in a different setting familiar
and a more appropriate talisman. Certain aspects were crafted with intentions of creating a fable that people can learn
from.
The reflection ideally…
Through my engagement with the short story ‘Eveline’, I was particularly inspired by the way in which
the James Joyce used a stream of consciousness style. This enabled him to portray the paralysis of
choice in the central character.
I chose to imaginatively recreate my version of the story in a contemporary setting with my main
character facing the challenges of deciding whether or not to leave a challenging familial situation. The
stream of consciousness style influenced the way in which I portrayed the negative thoughts of my
central character. For example, throughout the story as my character looked around their lounge
room each object they laid eyes on evoked a memory, “the feeling of the hog hair bristles against my
head scratched a out another memory of when……..”. Through the flow of memories and my use of
metaphor in this particular instance I wanted to evoke the pain felt by the individual…..
N.B. This in not a complete example but shows a student considering
what has shaped meaning rather than recounting what is happening is
a story.
Good Luck!
You’ve got this… just break
it down!
Ms Warby :)