Future Worlds/ New Worlds
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Summary/Unit Overview
In this unit, students will examine numerous examples of dystopic texts, developing not only their understanding of science fiction, but also their ability to compose texts within this genre. Beginning with an exploration of the history and origins of dystopic fiction and analysing numerous examples of this genre and its conventions, students will understand how such works scrutinise and comment on contemporary social issues.
Through a close study of Veronica Roth's novel Divergent and the film The Hunger Games, students will broaden their knowledge of how fictional future worlds can be used to examine issues relevant to their own society. Students will engage in numerous individual and collaborative exercises, created to improve their ability to respond to texts for understanding, interpretation and critical analysis.
During this unit students will also be provided with opportunities to develop further their creative writing skills. Students will be encouraged to think imaginatively about ideas and arguments, extrapolating upon developments in modern society, as well as record, evaluate and reflect on their own learning processes.
Outcomes Duration
English K-10
›
EN4-1A responds to and composes texts for understanding, interpretation, critical analysis, imaginative expression and pleasure
›
EN4-2A effectively uses a widening range of processes, skills, strategies and knowledge for responding to and composing texts in different media and technologies
›
EN4-3B uses and describes language forms, features and structures of texts appropriate to a range of purposes, audiences and contexts
›
EN4-4B makes effective language choices to creatively shape meaning with accuracy, clarity and coherence
›
EN4-5C thinks imaginatively, creatively, interpretively and critically about information, ideas and arguments to respond to and compose texts
›
EN4-6C identifies and explains connections between and among texts
›
EN4-7D demonstrates understanding of how texts can express aspects of their broadening world and their relationships within it
›
EN4-9E uses, reflects on and assesses their individual and collaborative skills for learning
9 weeks
Term Two: Weeks 1-9
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 1

Text Requirements
Close study of fiction:
Close study of film:
Text Overview
Divergent- Veronica Roth
The Hunger Games- Gary Ross (dir.)
Nonfiction: articles and text extracts on novel/genre How to Write Science Fiction & Fantasy- Orson Scott Card
Out of the Dark- James Kidd- http://www.smh.com.au/entertainment/books/veronica-roth-out-ofthe-dark-20140123-319p8.html (accessed 27/6/14)
An appropriate range of digital texts, including film, media and multimedia
Texts that include aspects of environmental and social sustainability
Why modern society would appear completely dystopian to a
visitor from the past- http://io9.com/5955264/why-modern-societywould-appear-completely-dystopian-to-a-visitor-from-the-past
(accessed 27/6/14)
Divergent Faction Quiz- http://www.divergentfactions.com/divergent-faction-quiz.html
(accessed 27/6/14)
The Matrix- Washowski Bros. (dir.)
The Giver- Lois Lowry
Graphic Novels: V for Vendetta- Alan Moore & David Lloyd
The Walking Dead- Robert Kirkman
Assessment overview
Assessment FOR learning
Pre-Assessment: Students' knowledge of science fiction & dystopias.
Student composed descriptions of utopias and dystopias.
Blogs written by the students in relation to the viewing of
The Matrix.
Independent Research Task (IRP): Students construct a portfolio with extracts from dystopic fiction texts they have researched from a wide variety of mediums and annotate their own analysis.
Group Analysis of Divergent factions
Student composed manifestos
Assessment AS learning
Reflection Statements: 200-word reflection statement based on their IRP and group work
Peer Assessment of Group Task
Student review of peer composed narratives
Journal entries composed by students during their reading of Divergent.
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 2

A wide range of literary texts from other countries and times
The Lottery- Shirley Jackson http://fullreads.com/literature/thelottery/ (accessed 27/6/14)
Assessment OF learning
Outcomes: EN4-1A, EN4-2A, EN4-4B, EN-5C
Creative Writing Task (25%):
Students compose an 800-1000 word narrative set in a futuristic, dystopic new world setting.
Learning Across Curriculum
The learning across the curriculum areas integrated throughout this unit include:
 Sustainability
 Critical & Creative Thinking
 Numeracy
 Information and Communication Technology
Capability
 Difference and Diversity
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 3

Content Teaching, learning and assessment
Stage 4 - Outcome 1
 respond to and compose imaginative, informative and persuasive texts for different audiences, purposes and contexts for understanding, interpretation, critical analysis, imaginative expression and pleasure
Stage 4 - Outcome 3
 engage with the language and structures of texts in meaningful, contextualised and authentic ways
 interpret and analyse language choices, including sentence patterns, dialogue, imagery and other language features, in short stories, literary essays and plays
(ACELT1767)
 understand how rhetorical devices are used to persuade and how different layers of meaning are developed through the use of metaphor, irony and parody
(ACELA1542)
 describe and analyse the purpose, audience and context of texts
 identify, discuss and reflect on the ideas and information in a range of texts
Stage 4 - Outcome 5
 compose texts using alternative, creative and imaginative ways of expressing ideas, recognising, valuing and celebrating originality and inventiveness
 critically analyse the ways experience, knowledge, values and perspectives can be represented through characters, situations and concerns in texts and how these affect responses to texts
 discuss aspects of texts, for example their aesthetic and social value, using relevant and appropriate metalanguage (ACELT1803)
Introduction to Dystopic Worlds/New Worlds
 Discuss with students a brief overview of the unit, focusing on the texts studied, structure of the unit, assessment tasks and teaching/learning strategies.
 Individually, students are to create their own reading schedule for their reading of Veronica Roth's novel Divergent after being given a deadline from their teacher. This reading schedule will track students' reading of the text, and is to be based on students' understanding of their own individual strengths as readers. As students read the text, students are encouraged to record their progress in a series of three journal entries, written at a time they designate, in which they discuss the personal pleasures and difficulties they experienced reading this text.
 Conduct a brainstorming session to determine students' prior knowledge of science fiction, dystopias and examples of science fiction/dystopic texts. Students use a mind-map to record their brainstorming.
 Revise with students the notion of genre. In groups of three, students are given one minute to brainstorm as many examples of different genres as they can. Students are then given two minutes to come up with examples of texts that are categorised as belonging to the genres they initially brainstormed. In their groups, students then discuss what they brainstormed and the examples they identified.
 Teacher discusses with students the nature of genre; subgenres, characteristics, hybrid genres, etc. Teacher then informs students that dystopic fiction is regarded as a sub-genre of science fiction/ speculative fiction.
 Students are given multiple definitions of the science fiction genre. After reading through these definitions, students compose a list of the similarities/differences that exist between each of these varied definitions and formulate their own definition for the science fiction genre.
 Discuss with students the purpose/s of any given text, revising the three major purposes of a text- inform, persuade and/or entertain. As a class, students are to ponder the following question and come to an agreement as a class- 'Why would a composer specifically choose to use the science fiction genre to comment on reality?' Furthermore, students are encouraged to discuss the appeal of science fiction.
 Using students' prior knowledge of science fiction, discuss the following conventions associated with this genre:
 Futuristic setting
 Imagined world
 Exploration of 'what if?'
 Space travel
 Aliens and creatures
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 4

Content
Stage 4 - Outcome 6
 categorise texts by content, composer and genre considering language forms, features and structures of texts
Stage 4 - Outcome 7
 draw on experience to consider the ways the 'real world' is represented in the imaginary worlds of texts, including imaginative literature, film, media and multimedia texts
Teaching, learning and assessment
 Invented lexicon
 Information dump
 Verisimilitude
 Extrapolation
 Themes revolving around humanity, science and technology, power and manipulation
 Students are to conduct their own research, obtaining definitions for the following terms; utopia and dystopia. Using a table and the definitions they have researched, students compare/contrast the differences between a utopia and a dystopia, highlighting the key features of these different worlds/types of settings. Extension Activity: what is an antiutopia and how does it differ from the other two types of worlds?
 In pairs, students compose a 200 word description of what they think a 'perfect world' would look like. Once they have completed this description, students share their compositions with their peers and record similarities and commonalities between their descriptions. Once this is completed, the teacher then poses the question, 'Could a utopia ever exist in reality?'
Stage 4 - Outcome 2
 understand and use the terminology associated with responding to and composing digital texts
 analyse and explain how language has evolved over time and how technology and the media have influenced language use and forms of communication (ACELA1528,
ACELY1729)
 recognise and practise responsible and ethical digital communication
 analyse and explain the effect of technological innovations on texts, particularly media texts (ACELY1765)
Stage 4 - Outcome 3
 recognise and use appropriate metalanguage in discussing a range of language forms, features and structures
Dystopic Fiction
 Students view an extract from the film The Matrix. After watching this extract, in pairs, students construct a list of reasons as to why the setting in this film is dystopic. Students also consider how the film techniques adopted by the
Washowski Brothers chararacterise the setting as dystopic.
 After watching an extract from The Matrix students compose an empathy task whereby they discuss what living in this world would be like. This empathy task is to be written as a blog, with three-four entries, each between 150-200 words.
 Deconstruct with students the concept of context; breakdown the difference between personal, historical, social, political and cultural contexts, and discuss with students the importance of a contextual analysis of any text. Focus on the notion that science fiction texts, in particular ones that contain a dystopic future world, often make important comments about a composer's own world, using the fictional setting they create as a platform for discussion. Use the film extract from The Matrix as a model for a contextual analysis and discussion of social issues examined in this film.
 Teacher discusses with students the abundance of dystopic texts that are emerging and becoming increasingly popular in today's society. Teacher poses the question, 'Why do you think dystopic texts are so popular in our current society and why are so many emerging?'
 Students are to be given a definition of the word extrapolation. After carefully considering this word and its meaning, students are to extrapolate upon current developments in society, considering how they could potentially cause a dystopia to exist in the future. Using the results from this discussion, individually, students compose a 200 word description of a dystopic future world they envisage for the year 2150. Students then compare their descriptions of a
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 5

Content
Stage 4 - Outcome 4
 recognise and appreciate the ways a wide range of texts communicate by using effective language choices
 explore and analyse the ways purpose, audience and context affect a composer's choices of content, language forms and features and structures of texts to creatively shape meaning
 experiment with text structures and language features to refine and clarify ideas to improve the effectiveness of students' own texts (ACELY1810)
 create literary texts that draw upon text structures and language features of other texts for particular purposes and effects (ACELT1632)
 creatively adapt and transform their own or familiar texts into different forms, structures, modes and media for a range of different purposes and audiences
Stage 4 - Outcome 5
 engage in wide reading of self-selected texts for enjoyment and share responses individually, in pairs and/or in small groups in a variety of relevant contexts, including digital and face-to-face contexts
 share, reflect on, clarify and evaluate opinions and arguments about aspects of literary texts (ACELT1627)
 express considered points of view and arguments on areas such as sustainability and the environment accurately and coherently in speech or writing with confidence and fluency
 investigate and understand the ways web and digital technologies influence language use and shape meaning
 compose a range of visual and multimodal texts using a variety of visual conventions, including composition,
Teaching, learning and assessment dystopia, with their previous description of a utopia, carefully considering the subjective nature of these two worlds. As an example of issues students could extrapolate upon, discuss environmental issues our world is currently facing and give them a model of a possible dystopia based on current developments revolving around environmental sustainability.
 Once students have completed their dystopic descriptions, students log on to the digital text 'Why modern society would appear completely dystopian to a visitor from the past', and read the article, as well as watch the video files and engage with the interactive applications included in this digital text: http://io9.com/5955264/why-modern-society-wouldappear-completely-dystopian-to-a-visitor-from-the-past (accessed 27/6/14). Once students have looked at this digital text, students in a whole class configuration, discuss its effectiveness as a digital text, considering its features, layout, use of hyperlinks, images and interactive comment boxes. Furthermore, students discuss the environmental and social sustainability issues this text examines.
 Homework: Students are to locate and research five examples of dystopic science fiction texts, bringing in a list of the texts classified as belonging to this genre. As part of their research students should obtain a brief description of each text's future world. In groups of four, students then share their lists with one another and discuss the different worlds created in each of the texts they located.
 Students read the short story 'The Lottery' by Shirley Jackson (1948) found at http://fullreads.com/literature/the-lottery/ and examine its depiction of a dystopic world and the techniques employed by Jackson in her construction of this text.
Students also examine what this text appears to be stating about the real world of the composer, considering the 1948 context in which it was written.
 Extension Activity: Read reviews of, or articles on, the classic text, Nineteen Eighty Four (also written in 1948). What similar/different ideas to The Lottery are evident?
 Students answer the following comprehension questions after their analysis of 'The Lottery':
 Describe the setting of 'The Lottery'. Where do you think the story takes place?
 Compose a four-sentence plot summary of the short story
 Locate examples of foreshadowing throughout the narrative that anticipate the surprise ending.
 What is the process of the lottery?
 This short story satirises numerous social issues including, conformity, the reluctance of people to reject outdated traditions, rules, ideas and practices. How successful is this text as satire?
 What is the significance of the black wooden box and its description as being "battered"?
 The short story was published just after WWII in 1948. How is this context reflected in the story?
 As revision, teacher discusses with students a variety of visual literacy techniques used by composers of visual texts, and as a class students analyse a variety of simple visual texts, including film posters from science fiction films.
Students consider the following visual techniques:
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 6

Content vectors, framing and reading pathway
Stage 4 - Outcome 6
 compare the text structures and language features of multimodal texts, explaining how they combine to influence audiences (ACELY1724)
 investigate how visual and multimodal texts allude to or draw on other texts or images to enhance and layer meaning (ACELA1548)
Stage 4 - Outcome 7
 explore and analyse the ways in which personal experiences and perspectives shape their responses to texts
 analyse and understand the ways techniques of representation in multimodal texts are used to present alternative views of the world, people, places and events
Stage 4 - Outcome 9
 understand and value the differences between their own and others' ways of learning in English
 reflect on and assess their own and others' learning against specific criteria, using reflection strategies, eg learning logs, blogs and discussions with teachers and peers
 understand the roles and responsibilities of individuals in groups, performing an allocated role responsibly in a group and assessing the success of individual and collaborative processes
Teaching, learning and assessment
 Vectors
 Angles
 Composition
 Framing
 Salient features
 Colour and saturation
 Gaze: demands and offers
 Reading paths and layout
 Modality
 Class Question: 'What is a graphic novel and how does it differ from other visual texts?'
 Students are placed into groups of four or five students. Each group is given an extract from the graphic novel V for
Vendetta by Alan Moore & David Lloyd or The Walking Dead. In their groups, students analyse the extract given and prepare a five-minute group presentation whereby they describe the dystopia presented in their text, analysing the visual features used by the composer to create this futuristic world. Groups are encouraged to create a multi-media or
PowerPoint presentation to support their analysis of their extract. Students peer assess each group presentation, giving constructive feedback to each presentation.
Stage 4 - Outcome 1
 recognise, reflect on, interpret and explain the connections between their own experiences and the world in texts
 consider and analyse the ways their own experience
Close Study: Divergent
 Individually, students previously created their own reading schedule for their reading of Veronica Roth's novel
Divergent and should have completed it by this point in the program. Students discuss their journal entries and their initial responses to the novel.
 Students are given the newspaper article 'Veronica Roth: Out of the Dark'
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 7

Content affects their responses to texts
 explore and appreciate the aesthetic qualities in their own and other texts and the power of language to communicate information, ideas, feelings and viewpoints
 interpret the stated and implied meanings in spoken texts, and use evidence to support or challenge different perspectives (ACELY1730)
 recognise when information is presented objectively and subjectively by examining the language of opinion, including modality, bias, personal pronouns and other semantic cues
 compare the ways that language and images are used to create character, and to influence emotions and opinions in different types of texts (ACELT1621)
 recognise and analyse the ways that characterisation, events and settings are combined in narratives, and discuss the purposes and appeal of different approaches
(ACELT1622)
Stage 4 - Outcome 2
 discuss and explain the processes of responding and composing, identifying the personal satisfaction and difficulties experienced
 use a range of effective strategies for organising information, ideas and arguments, eg clustering, listing, compare and contrast, semantic chains, graphic and diagram outlines, and mind maps
 reflect on ideas and opinions about characters, settings and events in literary texts, identifying areas of agreement and difference with others and justifying a point of view (ACELT1620)
 use comprehension strategies to interpret and evaluate texts by reflecting on the validity of content and the credibility of sources, including finding evidence in the text for the author's point of view (ACELY1723, ACELY1734)
Teaching, learning and assessment
( http://www.smh.com.au/entertainment/books/veronica-roth-out-of-the-dark-20140123-319p8.html) and read this text.
Once students have completed their reading, students construct a mind-map which summarises all the information they derived from this text about Veronica Roth and her personal context. Students are then to devise five questions they would ask Veronica Roth, if they were given the opportunity, to find out more information about her context.
Additionally, students look at the online version of this text, paying close attention to the interactive ‘Comments’ section of this site and discuss both the usefulness and problems associated with such interactive elements.
 Extension Activity: Students compose their own comments for this ‘Comments’ section. In groups of four they share the comments they composed to post and choose which one of the four comments to post. Students are to create their own criteria, as a group, to help them judge which of the posts they composed is more effective.
 Students are divided into groups and are each assigned five chapters. In their small groups, students are to write a one paragraph summary for each of the chapters given. Teacher collates students' work and gives each student a copy of the class constructed summary.
 Revise with students the traditional narrative structure of texts (i.e. orientation, rising action, climax & resolution), drawing a diagram of this structure on the board for students' reference. Discuss with students the purpose of each section in any given text. Then, using their summaries from the previous activity, students map out the structure of
Divergent using this plot diagram. Students will need to consider:
 Orientation: when does this section conclude?
 Rising Action: what are the major events that lead up to the novel's climax?
 Climax: what is the climax? Where exactly does the plot's climax occur?
 Resolution: how is the text’s plot resolved?
 Discuss with students how Veronica Roth turned the city of Chicago, where she resides, into a dystopia. Individually, students are to brainstorm ideas on how they could turn Sydney into a futuristic dystopia. Students then compose a 300 word description of their own dystopic Sydney. In their descriptions, students must include at least TWO Sydney landmarks. Alternatively, students could turn their suburb or another city into a dystopic future world or instead of composing a written description they could draw/create a visual representation of a dystopic Sydney.
 In a whole class configuration, students read Chapter Five and answer the following question: 'In Chapter Five the reader learns, via an information dump, details about the setting and its current state. What do we learn from this chapter about Tris' world?' Why are these details important for the reader?
 Using computers, students are to locate images from the internet of the following places mentioned in the novel:
 Sears Tower (The Hub)
 Navy Pier (Ferris Wheel)
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 8

Content
 use collaborative processes, eg playbuilding, performances and digital compositions to construct texts
Stage 4 - Outcome 3
 engage with the language and structures of texts in meaningful, contextualised and authentic ways
 identify, discuss and reflect on the ideas and information in a range of texts
 describe and analyse the purpose, audience and context of texts
Stage 4 - Outcome 4
 explore and analyse the ways purpose, audience and context affect a composer's choices of content, language forms and features and structures of texts to creatively shape meaning
 experiment with particular language features drawn from different types of texts, including combinations of language and visual choices to create new texts
(ACELT1768, ACELT1805)
 create imaginative, informative and persuasive texts that raise issues, report events and advance opinions, using deliberate language and textual choices, and including digital elements as appropriate (ACELY1736)
 plan, draft and publish imaginative, informative and persuasive texts, selecting aspects of subject matter and particular language, visual, and audio features to convey information and ideas (ACELY1725)
 respond to and compose new print and multimodal texts, experimenting with appropriations and intertextuality
Stage 4 - Outcome 5
 describe and explain qualities of language in their own
Teaching, learning and assessment
 Michigan Ave Bridge
 John Hancock Building
 Millenium Park ("Mirror lima bean sculpture")
Once students have found images of these iconic Chicago landmarks, students examine how Veronica Roth has incorporated these sites into her text, by altering and changing them. Students also speculate as to why Roth specifically chose to incorporate these famous landmarks.
 Students are given a contemporary map of Chicago. Using the information they have read from their novel, students map out the different areas of Chicago, in terms of the four different factions and their designated areas. Students are to
number the different sections, creating a key for their map which details the different areas.
 In complete silence and without conversation with their peers, students go onto the internet and complete the digital
text Divergent Faction Quiz ( http://www.divergentfactions.com/divergent-faction-quiz.html) . Students are not to share their results with the rest of the class.
 On a blank piece of paper, students engage in a 'mock' choosing ceremony whereby they record which faction they choose to be a part of. Students must consider their results from the online faction quiz they completed. They then submit this to the teacher. [NB If the results of students' faction quiz resulted in ‘Divergent’ students cannot choose to be factionless.]
 Individually, students approach the front of the class and inform their peers which faction they chose to join, in a mock Choosing Ceremony.
 Students are then divided into groups, based on the factions they chose. In groups of four-five, students will prepare and plan a group presentation on their faction where they discuss:
 Their faction's characteristics and purpose
 Characters part of that faction
 Notable events in that faction's history
 Information regarding that faction's initiation process
 Any other important information regarding their faction
 Once their presentation is complete, students write a 150 word reflection statement based on how well they worked as group, considering the tasks they performed, as well as any challenges/difficulties they encountered.
 Individually, students answer the following questions about the different factions, based on their listening of the group presentations conducted and their own knowledge:
 What are the different factions?
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 9

Content and others' texts that contribute to the enjoyment that can be experienced in responding to and composing texts
 explore the ways individual interpretations of texts are influenced by students' own knowledge, values and cultural assumptions
 critically consider the ways in which meaning is shaped by context, purpose, form, structure, style, content, language choices and their own personal perspective
 understand and use conventions of storytelling in a range of modes and media, eg digital storytelling
Stage 4 - Outcome 6
 recognise, explain and analyse the ways literary texts draw on readers' knowledge of other texts and enable new understanding and appreciation of aesthetic qualities (ACELT1629)
 investigate and explain appropriations into English from a range of other cultures and times
 compose texts that make creative connections with, adapt or transform other texts, such as the preparation of promotional material for a film or book or a narration for a documentary
 use an increasingly wide range of strategies to present information, opinions and perspectives across a range of different types of texts
Stage 4 - Outcome 7
 explain and justify personal empathy, sympathy and antipathy towards characters, situations and concerns depicted in texts
 analyse the ways that language features such as modality are used to represent individual, shared or disparate views of the world
 respond to and compose sustained texts in an
Teaching, learning and assessment
 What are the characteristics associated with each faction?
 Why were the factions created and what is their purpose?
 What does it mean to be factionless?
 Discuss with students what a manifesto is. Individually, students are to create a new faction and compose a manifesto for their created faction.
 Students are to research the meaning of their own name. Once they have an understanding of their importance of their name, as well as ascertaining the reasons why their parents chose to call them this name, students answer the following questions, regarding the novel:
 What is the significance of someone's name? (Identity)
 Why are readers told of Beatrice's name for the first time in Chapter Six, when she immediately changes it to
Tris?
 Discuss the symbolism associated with Tris changing her name.
 Four is only a nickname. What does it stand for?
 What is the significance of Tris learning Four's real name?
[ Consider also for your class/cohort: Have any of the students changed their own name or chosen to be known by another name, an abbreviation or nickname? Why? What is the significance of this change to them?]
 Teacher assigns each student a character from the novel. Students are to construct a character profile of the character they were assigned, focusing on:
 Their appearance
 Family background/history
 Character traits
 Defining moments in the course of the novel
 Important quotes that represent and depict their character's personality
 A visual representation of their character
Once students have edited and completed their profile, the teacher checks this and gives each student a copy of each character's profile. Alternatively, this activity could be conducted in pairs.
 After revising the conventions of the science fiction genre, students create a table where they define each of the conventions listed below and find examples of each of these conventions in Divergent, recording page numbers and
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 10

Content increasingly wide range of forms that reflect their broadening world and their relationships within it
 explore the ways 'story' shapes their experience of and responses to a range of texts, including film and multimedia
Stage 4 - Outcome 9
 discuss and explain the processes of responding and composing, identifying the personal pleasures and difficulties experienced
 use and reflect on metacognitive processes used for planning, including brainstorming, mind mapping, storyboarding, role-play and improvisation
 identify, plan and prioritise stages of tasks, making use of organisational strategies, eg drawing up a schedule, monitoring progress and meeting deadlines
Teaching, learning and assessment including quotes from the text:
 Futuristic setting
 Imagined world
 Exploration of 'what if?'
 Information dump
 Invented lexicon
 Verisimilitude
 Extrapolation
 Themes revolving around humanity, science and technology, power and manipulation
 Lone hero
 Damsel in distress
 Super-villain
 Conduct a brainstorming activity, where students determine the major thematic concerns Veronica Roth explores throughout the course of the novel. Based on the results of this activity, students discuss how Veronica Roth sheds light on issues relevant to contemporary society, by examining such issues in an imagined, futuristic setting. Students also consider aspects of our own society that Roth has extrapolated on. Once this discussion is complete, students are to
locate TWO quotes from the novel for each theme highlighted, and write down how their chosen quotes convey aspects of the themes identified in class.
 Students are given the opening to Lois Lowry’s novel The Giver. After reading through the first chapter, students draw comparisons between the dystopic world Lowry creates and the world of Divergent. Students consider the influence of
Lowry’s world on Veronica Roth’s text and predict similar thematic content.
 Speculation Exercise: After reading the end of the novel, students are to write a synopsis for what they predict will happen in the novel's sequel, considering its title Insurgent. [If students have already read this novel, students are to write their own blurb/book jacket for the sequel that incorporates an allusion to the title’s significance and meaning.]
Stage 4 - Outcome 2
 use prior knowledge and text processing strategies to interpret a range of types of texts (ACELY1722)
Stage 4 - Outcome 4
 recognise and appreciate the ways a wide range of texts
Independent Research Project
 Teacher discusses with students the purpose of a portfolio.
 Students are to conduct their own research on the history of dystopic fiction. Using their findings students create a onepage handout which details the history of this genre and they include this in their portfolio.
 Individually, students are to locate a variety of examples of texts which explore futuristic/new worlds. Students are
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 11

Content communicate by using effective language choices
 explore and analyse the ways purpose, audience and context affect a composer's choices of content, language forms and features and structures of texts to creatively shape meaning
Stage 4 - Outcome 5
 engage in wide reading of self-selected texts for enjoyment and share responses individually, in pairs and/or in small groups in a variety of relevant contexts, including digital and face-to-face contexts
Stage 4 - Outcome 6
 investigate and explain appropriations into English from a range of other cultures and times
 compare the text structures and language features of multimodal texts, explaining how they combine to influence audiences (ACELY1724)
 categorise texts by content, composer and genre considering language forms, features and structures of texts
Stage 4 - Outcome 9
 articulate and reflect on the pleasure and difficulties, successes and challenges experienced in their individual and collaborative learning
Teaching, learning and assessment encouraged to locate a variety of different types of texts. Examples may include:
 Novels
 Short Stories
 Poems
 Songs
 Visual texts i.e. paintings, advertisements, etc.
 Films
 TV shows
 Graphic Novels
 Comics
 The examples students collect should include texts set in the future and which explore the future in both a positive/negative light. Texts explored in class may be included also (teacher discretion).
 In their portfolios, students are to include extracts from each of the texts they collect. Students are then to compose analysis notes that examine the setting of each text collected and the contemporary issues that each text explores.
Research into the context of each of these texts will be required and students are encouraged to conduct this independently. Analysis notes could be in the form of annotations or formal notes, such as a report. The form of such notes will be dependent on the text types collected. Students are also urged to focus on the connections that exist between the texts they locate.
 Teachers may also choose to have students include in their portfolio any creative writing pieces they composed throughout the unit.
 In their portfolio, students must compose a 200 word reflection, where they discuss the process of their collection of their texts, as well as their own thoughts and ideas about the texts they collected.
Stage 4 - Outcome 1
 recognise, reflect on, interpret and explain the connections between their own experiences and the world in texts
 explore and explain the ways authors combine different
Film Study: The Hunger Games
 Conduct a brainstorming session, focused on reality television programs the students are familiar with. Teacher discusses with students the influx of reality TV programs over the past decade and discusses how such programming, in particular shows like Big Brother and Survivor, formed the basis for Suzanne Collins' novel The Hunger Games.
Students are asked to consider reasons for the recent surge of reality television programming.
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 12

Content modes and media in creating texts, and the impact of these choices on the viewer/listener (ACELY1735)
 identify and discuss main ideas, concepts and points of view in spoken texts to evaluate qualities, for example the strength of an argument or the lyrical power of a poetic rendition (ACELY1719)
Stage 4 - Outcome 6
 explain the similarities and differences in meaning and language between texts created for different purposes or audiences
 identify and explain the links between the ideas, information, perspectives and points of view presented in a range of different texts
 identify, compare and describe the connection between texts with similar subject matter, such as a book and its film adaptation
Stage 4 - Outcome 7
 draw on experience to consider the ways the 'real world' is represented in the imaginary worlds of texts, including imaginative literature, film, media and multimedia texts
 compare and contrast texts that present alternative views of their own world
 explain and justify personal empathy, sympathy and antipathy towards characters, situations and concerns depicted in texts
 analyse and understand the ways techniques of representation in multimodal texts are used to present alternative views of the world, people, places and events
Stage 4 - Outcome 3
 understand the ways etymology can clarify choices of
Teaching, learning and assessment
 Revise with students the process of annotating a text, focusing in particular on how to make annotations when viewing a film.
 Students view the film The Hunger Games by Gary Ross. As they watch the film, students are encouraged to pay close attention to, and make notes on, the futuristic world of Panem, as conveyed in the text, focusing on:
 the dystopic elements of this futuristic world
 its relationship with contemporary society
 similarities with students' own world
 extrapolation: what has Collins/Ross extrapolated on in our society to create this world?
 ancient Roman influence and the reasons behind this (i.e. gladiatorial combat, Coliseum, theme of life/death as entertainment)
 the film techniques used to convey this world as a dystopia (lighting, contrast, symbolism, costume, mise-enscene, setting etc)
 After viewing the film students are split into groups of four and are asked to focus on one of the aspects noted above in their annotations. In their groups, students are to prepare a brief five-minute presentation on what they “saw”, “heard” and annotated throughout their viewing of the film. As students listen to each group’s presentation, students are to add other group’s observations to their own notes and annotations.
 Students construct a table; one column being The Hunger Games' Panem and the other column being Divergent's
Chicago. Using this table, students are to create a list of the similarities and differences between these two dystopic worlds, including evidence (quotes) for each of their points. Students are encouraged to also consider the themes of the two texts and compare their relationship.
 As students view the film, students are to record the different skills of each of the characters. Students then answer the question, 'If you were in The Hunger Games what would your specialised skill be?’ In groups share their responses and why they have identified this skill for themselves. As a class consider: What skills in this world are highly regarded?
What skills are highly regarded in our world and why?
 Revise with students the importance of names, as explored in Divergent. Students are to research the names used in
The Hunger Games, considering the symbolism employed in many of the character's names. For example, Peeta's name in Greek means cake, hence Peeta being the baker's son. Furthermore, President Snow's name is in direct opposition to Katniss being given the nickname 'The Girl on Fire'.
 Extension Activity: Teacher discusses with students the concept of a feminist reading of a text. After discussing this notion and engaging in research, students consider if The Hunger Games and Divergent could be regarded as feminist texts, based on the characters of Katniss and Tris. Students conduct a debate, which examines the idea 'That The
Hunger Games and Divergent are clear examples of feminist texts'
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 13

Content vocabulary
Teaching, learning and assessment
 After discussing the notion of stereotypes and applying this concept to gender stereotypes, students compare and
contrast the representations of masculinity and femininity in the two texts studied, using Tris, Katniss, Peeta and Four as case studies.
 Give students two examples of film reviews. Using these examples as models, students compose a 500 word film
review of Gary Ross' The Hunger Games.
Stage 4 - Outcome 1
 experiment with language forms and features to compose texts for pleasure and enjoyment
 use increasingly sophisticated verbal, aural, visual and/or written techniques, eg imagery, figures of speech, selective choice of vocabulary, rhythm, sound effects, colour and design, to compose imaginative texts for pleasure
Stage 4 - Outcome 2
 recognise the different processes required for responding and composing in a range of forms and media
 consider and apply a range of strategies to improve their texts, including editing by rereading and peer editing, checking accuracy of paragraphing, grammar, spelling and punctuation, and considering relevance for purpose, audience and context
 edit for meaning by removing repetition, refining ideas, reordering sentences and adding or substituting words for impact (ACELY1726)
 use a range of software, including word processing programs, to create, edit and publish texts imaginatively
(ACELY1728, ACELY1738)
 use a widening range of processes of composing and publishing sustained texts, including planning, drafting, rehearsing and editing
Stage 4 - Outcome 3
 develop a sense of personal style and taste in
Constructing New Worlds: Composing Dystopic Fiction
 Teacher discusses with students the short story/narrative text type, revising its defining characteristics and features:
1.
It should be capable of being read in one sitting
2.
Limited number of characters (1-2 main characters)
3.
Only one theme
4.
Limited time frame
5.
Structure (orientation, rising action, climax, resolution) or 'the hook' (i.e. starting with something exciting)
6.
Action which moves quickly
7.
Words chosen for their precision
 In addition to the creative writing tasks included throughout the unit, a variety of creative writing exercises should be conducted to assist students with their assessment task. These may include:
 Discuss with students the importance of planning short stories. Get students to complete a plan for their composition. In their plans, students should also focus on the purpose and audience of their text.
 To practice composing dialogue, get students to compose a conversation between two characters discussing a sports event, an incident in the playground or a problem one of them is facing. In doing this revise punctuation conventions and rules associated with dialogue.
 After discussing the principle of 'show don't tell', get students to use their five senses to describe their kitchen, a holiday house, a storm at sea, a car crash or the atmosphere at a concert.
 Examine the process of characterisation, the creation of setting and the importance of using language forms and features. Using students’ descriptions of the utopias and dystopias they created at the beginning of the unit, get students to read over these again and re-write them to include examples of metaphors, similes, personification, symbolism, motif, imagery, etc.
 Give students an extract of a text written in first person and get them to re-write it from a third person perspective.
Discuss the advantages/disadvantages of using different narrators.
 Assign each student an editing 'buddy'. Have students compose a small piece of creative writing and get them to
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 14

Content composition and response
Stage 4 - Outcome 4
 experiment with particular language features drawn from different types of texts, including combinations of language and visual choices to create new texts
(ACELT1768, ACELT1805)
 experiment with text structures and language features to refine and clarify ideas to improve the effectiveness of students' own texts (ACELY1810)
 create imaginative, informative and persuasive texts that raise issues, report events and advance opinions, using deliberate language and textual choices, and including digital elements as appropriate (ACELY1736)
 plan, draft and publish imaginative, informative and persuasive texts, selecting aspects of subject matter and particular language, visual, and audio features to convey information and ideas (ACELY1725)
 creatively adapt and transform their own or familiar texts into different forms, structures, modes and media for a range of different purposes and audiences
 respond to and compose new print and multimodal texts, experimenting with appropriations and intertextuality
 Stage 4 - Outcome 9
 develop and use vocabulary for describing, analysing and reflecting on their learning experiences
Teaching, learning and assessment get their 'buddy' to edit their work. Discuss with students the importance of editing and proof reading their work and the tools that can assist these processes. For example, word processing applications, peer editing, dictionaries, etc.
 Students are given various extracts from Chapters Two and Three of Orson Scott Card's non-fiction text How to Write
Science Fiction and Fantasy. Using this text, students read about 'World Creation' and 'Story Construction'. Once they have read these extracts, students compose a 300 word diary entry, where they discuss and reflect on their skills as creative writers and how these extracts have assisted them.
 Assessment of Learning: Students compose an 800-1000 word narrative set in a futuristic, dystopic setting.
“Using your understanding of dystopic fiction and the creative writing skills you have developed throughout the term, compose a short story that is set in a futuristic, new world. Your short story is to be between 800-1000 words in length.
Your narrative must adopt and use conventions associated with the science fiction genre and needs to explore issues relating to contemporary society.”
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 15

have also been developing their creative writing skills, as well as their ability to compose texts that could be categorised as belonging to this genre of writing.
› EN4-1A responds to and composes texts for understanding, interpretation, critical analysis, imaginative expression and pleasure
› EN4-2A effectively uses a widening range of processes, skills, strategies and knowledge for responding to and composing texts in different media and technologies
›
› EN4-5C thinks imaginatively, creatively, interpretively and critically about information, ideas and arguments to respond to and compose texts
TBD
term, compose a short story that is set in a futuristic, dystopic new world. Your short story is to be between 800-1000 words in length.
Your narrative must adopt and use conventions associated with the science fiction genre and needs to explore issues relating to contemporary society.
You will need to carefully consider the imaginative setting you construct and the characters you create, as well as ensure your plot is unique, inventive and engaging.
You will be assessed on how well you demonstrate your:
 Knowledge of the science fiction/dystopic fiction genre
 Ability to construct a setting, characterisation and plot
 Understanding of science fiction conventions
 Use of language forms and features appropriate to your audience and context
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South
Wales is protected by Crown copyright. 18

 Demonstrates a sophisticated and highly detailed knowledge of the science fiction/dystopic fiction genre.
 Illustrates an inventive and insightful ability to construct an imaginative setting, authentic characterisation and an engaging and unique plot.
 Shows a highly developed understanding of science fiction conventions by using and adapting them in a sustained and artful manner.
 Skilfully uses and manipulates language forms and features to compose a unique and engaging narrative, appropriate to audience and context.
 Demonstrates a well-developed and comprehensive knowledge of the science fiction/dystopic fiction genre.
 Illustrates a creative ability to construct an imaginative setting, authentic characterisation and an engaging plot.
 Shows a competent understanding of science fiction conventions by using and adapting them in a coherent manner.
 Effectively uses appropriate and relevant language forms and features to compose a plausible and interesting narrative, appropriate to audience and context.
 Demonstrates a sound knowledge of the science fiction/dystopic fiction genre.
 Illustrates a developed ability to construct an imaginative setting, authentic characterisation and an interesting plot.
 Shows a developed understanding of science fiction conventions by using and adapting them in a clear manner.
 Satisfactorily uses language forms and features to compose an adequate narrative, appropriate to audience and context
 Demonstrates a basic knowledge of the science fiction/dystopic fiction genre.
 Illustrates some ability to construct an imaginative setting, characterisation and plot, with some flaws.
 Shows some understanding of science fiction conventions by including them within their story in an unsustained manner.
 Uses simple language forms and features in an inconsistent manner, attempting to construct an appropriate response.
 Demonstrates a limited or elementary knowledge of the science fiction/dystopic fiction genre.
 Illustrates an elementary ability to construct an imaginative setting, plausible characterisation and plot.
 Shows little understanding of science fiction conventions by attempting to include them in an inconsistent and erratic manner.
 Uses language forms and features in a minimal and simplistic manner, in an attempt to compose a science fiction narrative.
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South
Wales is protected by Crown copyright. 19

Evaluation
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If any other licence is sought, inquiries should be directed to the Executive Director of AISNSW.
This unit of work was written by Benjamen Haeusler, International Grammar School. Copyright of the unit of work is owned by AISNSW.
NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 1