TALKING POINTS: Memorized essays betray a lack of confidence and an unwillingness to commit to authentic answers. Examiners have always advised students to prepare ‘talking points’ instead - a selection of ideas that they can draw on and which convey solid analysis and interpretation of the text. These talking points can be used by teachers, to focus discussion on higher-level or less-noticed features of the text and context. They also form effective student revision materials for formal assessment. Each point is supported by a piece of evidence from the text, and there are sufficient points to generate solid responses to almost any essay question. The Talking Points also model how students can articulate more complex thoughts about the text, and adduce evidence in natural and well-integrated writing. SAMPLE ESSAY: This is a three-part resource for students undertaking the NSW HSC Common Module: Texts and Human Experiences A generic essay plan shows students how to compose an essay suitable for Stage 6, progressing them from the simpler PEEL/TEAL models of Stage 4 and 5. A sample essay for the prescribed text, Past the Shallows, answers a sample question for this module. There is also a second copy of the essay, marked up to show how it follows the plan, and with five short questions which require students to engage critically with the essay and its form.

Memorized essays betray a lack of confidence and an unwillingness to commit to authentic answers. Examiners have always advised students to prepare ‘talking points’ instead - a selection of ideas that they can draw on and which convey solid analysis and interpretation of the text. These talking points can be used by teachers, to focus discussion on higher-level or less-noticed features of the text and context. They also form effective student revision materials for formal assessment. Each point is supported by a piece of evidence from the text, and there are sufficient points to generate solid responses to almost any essay question. The Talking Points also model how students can articulate more complex thoughts about the text, and adduce evidence in natural and well-integrated writing.

Memorized essays betray a lack of confidence and an unwillingness to commit to authentic answers. Examiners have always advised students to prepare ‘talking points’ instead - a selection of ideas that they can draw on and which convey solid analysis and interpretation of the text. These talking points can be used by teachers, to focus discussion on higher-level or less-noticed features of the text and context. They also form effective student revision materials for formal assessment. Each point is supported by a piece of evidence from the text, and there are sufficient points to generate solid responses to almost any essay question. The Talking Points also model how students can articulate more complex thoughts about the text, and adduce evidence in natural and well-integrated writing.

This is a three-part resource for students undertaking the NSW HSC Advanced English Module A: Textual Conversations. A generic essay plan shows students how to compose an essay suitable for Stage 6, progressing them from the simpler PEEL/TEAL models of Stage 4 and 5. A sample essay for the prescribed texts The Outsider and The Meursault Investigation answers the 2020 HSC question: In textual conversations, the later text is often seen as a shadow, lacking the originality and power of the earlier. To what extent is this statement true of the texts you have studied in this module? There is also a second copy of the essay, marked up to show how it follows the plan, and with five short questions which require students to engage critically with the essay and its form.

HSC Module C: The Craft of Writing offers students complex texts from which to draw for their own writing. Because of their complex construction and ideas, students can be at a loss for ‘ways in’ to the text. Diving Bell’s ‘Ways Into’ series for Module C provide a structured way for students to consider the text in terms of Content, Context, and Construction, with appropriate elements within these headings. By the end of the worksheet the student should be clear on the content, meaning, construction-strategies, and ways to use George Orwell’s famous and fabulous essay ‘Politics and the English Language’. A completed teacher’s copy with possible responses is available so that time-poor teachers can lead classes through these texts.

This is a three-part resource for students undertaking the NSW HSC Advanced English Module A: Textual Conversations. A generic essay plan shows students how to compose an essay suitable for Stage 6, progressing them from the simpler PEEL/TEAL models of Stage 4 and 5. A sample essay for the prescribed text-pairing of John Donne’s poetry and Margaret Edson’s play W;t, and answers the 2019 HSC question: Everything is being dismantled, reconstructed, recycled. To what end? For what purpose? To what extent is this true of the texts you have studied for this module? There is also a second copy of the essay, marked up to show how it follows the plan, and with five short questions which require students to engage critically with the essay and its form

Short films can be engaging texts from which to construct a whole unit, or as reward breaks for single lessons. The rich variety of styles and stories in short films from around the world will appeal to even the most disengaged or low-ability student. This single-lesson activity comprises questions for the 20 minute short film ‘Second Best’, directed by Alyssa McClelland. The film was found on Second Best by Alyssa McClelland | Comedy | Short Film (shortoftheweek.com), and is suitable for students 15+. There is one instance of swearing (the f-word). Please note this file does not include the film itself, nor can we guarantee that the film will remain at that site permanently. We advise teachers to check the link above, or make sure that they can view the film before purchasing.

This resource offers an answer to the Sample Paper HSC Advanced English Module C question: Choose a character, persona or speaker from ONE prescribed text that you have studied in Module C. Express the thought processes of this character, persona or speaker by exploring a moment of tension in the text from an alternative point of view. This answer draws on the figure of Adele Ratignolle from Kate Chopin’s novella The Awakening. There is also an answer to part b), which asks students to justify their creative choices. Check out more creative writing resources at https://thecraftofwriting.org/

This resource offers an answer to the Sample Paper HSC Advanced English Module C question: Choose a character, persona or speaker from ONE prescribed text that you have studied in Module C. Express the thought processes of this character, persona or speaker by exploring a moment of tension in the text from an alternative point of view. This answer draws on the figure of Bentley Drummle from Dickens’ novel Great Expectations. There is also an answer to part b), which asks students to justify their creative choices. Check out more creative writing resources at https://thecraftofwriting.org/

This resource offers an answer to the Sample Paper HSC Advanced English Module C question: Choose a character, persona or speaker from ONE prescribed text that you have studied. Express the thought processes of this character, persona or speaker by exploring a moment of tension in the text from an alternative point of view. This answer uses Camus’ novel The Outsider (a set text for Module A) and the figure of the mother. There is also a brief reflective statement for the part (b) question, requiring students to justify their creative decisions. Check out more creative writing resources at https://thecraftofwriting.org/

This resource offers an answer to the Sample Paper HSC Advanced English Module C question: Guard your roving thoughts with a jealous care, for speech is but the dealer of thoughts, and every fool can plainly read in your words what is the hour of your thoughts. Use this warning as a stimulus for a piece of persuasive, discursive or imaginative writing that expresses your perspective about a significant concern or idea that you have engaged with in ONE of your prescribed texts from Module A, B or C. This answer uses T.S. Eliot’s poem ‘Journey of the Magi’ in an imaginative way, reflecting on the possible listener to the Magus’ dramatic monologue. Check out more creative writing resources at https://thecraftofwriting.org/

This resource offers an answer to the Sample Paper HSC Advanced English Module C question: Choose a character, persona or speaker from ONE prescribed text that you have studied. Express the thought processes of this character, persona or speaker by exploring a moment of tension in the text from an alternative point of view. NOTE: the sample paper asked students to choose from a prescribed text that you have studied from Module C. This answer involves a Module B text (Henry IV, Part 1) in order to show how more substantial and complex literary texts like Shakespeare can also produce fruitful Craft of Writing responses. There is also an answer to part b), which asks students to justify their creative choices. Check out more creative writing resources at https://thecraftofwriting.org/

This resource offers an answer to the Sample Paper HSC Advanced English Module C question: Guard your roving thoughts with a jealous care, for speech is but the dealer of thoughts, and every fool can plainly read in your words what is the hour of your thoughts. Use this warning as a stimulus for a piece of persuasive, discursive or imaginative writing that expresses your perspective about a significant concern or idea that you have engaged with in ONE of your prescribed texts from Module A, B or C. This answer uses T.S. Eliot’s poem ‘Rhapsody on a Windy Night’ in a discursive piece about living up to your interpretations. Check out more creative writing resources at https://thecraftofwriting.org/

Shakespeare’s play about madness and ambition is an established favourite for senior students. This 48-page unit of work has been tested successfully with a mixed-ability class and provides material for a full 10-week school term. This unit focuses on close textual analysis. There is a mixture of tasks which gets students writing analytically, personally, and creatively, helping them to build up their own unique interpretation of the work, and eventually to express this in a formal essay. There is a brief, student-friendly explanation of what a close reading actually is and how to perform it, followed by a sample close reading of the opening passage. Each scene has a single-page task sheet comprising three higher-order tasks: a close reading of a nominated passage, an extended response to develop interpretative thinking, and a choice of creative writing tasks which springboard from the language and ideas in the chapter. Ten senior-level essay questions offer a choice of arguments about character, theme, language, and context, and a sample essay discusses the following question: I dare do all that may become a man. Who dares do more is none. How are ideas of manly behaviour presented in the play?

Shakespeare’s tragedy about madness and ambition is an established favourite for senior students. Each scene has a single-page task sheet comprising three higher-order tasks: a close reading of a nominated passage, an extended response to develop interpretative thinking, and a choice of creative writing tasks which springboard from the language and ideas in the scene. These tasks get students writing analytically, personally, and creatively, helping them to build up their own unique interpretation of the work, and eventually to express this in a formal essay.

Gothic literature still informs many popular works of fiction, television and cinema, and the genre is still a regular part of many students’ high school literature experience. This 135-page all-inclusive unit comprises: An introduction to the values of the Gothic genre Ten modules based around a classic Gothic short story or poem, which highlight one of the ten values or conventions. Each module has an introductory discussion; complete text of the story/poem; questions based on Bloom’s taxonomy An assessment task suitable for students aged 15-16 who have well-developed reading ability A reading list of other short stories both modern and classic from which teachers can choose partner pieces for the module stories

Shakespeare’s play about race and manipulation is an established favourite for senior students. This 35-page unit of work has been tested successfully with a mixed-ability class and provides material for a full 10-week school term. This unit focuses on close textual analysis. There is a mixture of tasks which gets students writing analytically, personally, and creatively, helping them to build up their own unique interpretation of the work, and eventually to express this in a formal essay. There is a brief, student-friendly explanation of what a close reading actually is and how to perform it, followed by a sample close reading of the opening passage. Each scene has a single-page task sheet comprising three higher-order tasks: a close reading of a nominated passage, an extended response to develop interpretative thinking, and a choice of creative writing tasks which springboard from the language and ideas in the chapter. Ten senior-level essay questions offer a choice of arguments about character, theme, language, and context, and a sample essay discusses how the play shows that ‘we need the Outsider narrative to help us define ourselves’.

Wilde’s Gothic novel about vanity and perdition is an established favourite for senior students. This 55-page unit of work has been tested successfully with a mixed-ability class and provides material for a full 10-week school term. Pre-reading research tasks introduce students to the late Victorian period and the Decadent movement, before the bulk of the unit focuses on close textual analysis. There is a mixture of tasks which gets students writing analytically, personally, and creatively, helping them to build up their own unique interpretation of the work, and eventually to express this in a formal essay. There is a brief, student-friendly explanation of what a close reading is and how to perform it, followed by a sample close reading of the opening passage. Each chapter has a single-page task sheet comprising three higher-order tasks: a close reading of a nominated passage, an extended response to develop interpretative thinking, and a choice of creative writing tasks which springboard from the language and ideas in the chapter. There is a discrete analysis task which shows students how to evaluate the same piece of textual evidence against three different questions, preventing them from regurgitating the same remarks regardless of question. A guided essay which breaks an essay down into manageable steps for lower-ability students or those who struggle to form and maintain an argument. Ten senior-level essay questions offer a choice of arguments about character, theme, language, and context, and a sample essay discusses whether ‘touching the sacred things is the only thing worth touching’.

Victorian poetry regularly makes the top ten poems in public surveys, and much of our conception of what makes ‘good’ poetry was shaped by poets like Tennyson, Browning, Rossetti, and Arnold. This period formed the emotional and social attitudes which linger today – even in post-modern texts which claim to have moved beyond them. While the Romantics were read by the literati, the Victorian poets in this unit formed the core of public poetry consumption. An understanding of this period is essential for students who will read Edwardian and Modernist literature in later terms, by showing them what these writers and artists reacted against. This activity comprises two poems by the Rossettis with questions which require students to make a close analysis and interpretation suggestions for extension reading to extend their knowledge of the poets a creative writing task which helps them to engage laterally and personally with the ideas in the poetry.