How To Get A Band 6 English-2

Copyright 2016 Art of Smart Education All rights reserved. Page !
1
Table of Contents
About Us 3
Art of Smart Education 3
The Authors 3
Area of Study: Discovery 4
Understanding the HSC English Area of Study - Discovery 5
How to Get Full Marks for the Area of Study Unseen Texts 23
Study Plans, Techniques & Exam Skills 32
How to Find the Perfect Related Text 33
How to Analyse a Visual Text 45
How to Break Down and Understand HSC English Questions 52
Cheatsheets 59
Visual Techniques 60
Film Techniques 63
Literary Techniques 67
HSC Practice Questions 79
Area of Study: Discovery 80
Module A 84
Copyright 2016 Art of Smart Education All rights reserved. Page 2

!
About Us
Art of Smart Education
At Art of Smart, we believe that a great tutor does
more than teach! Thats why weve pioneered a proven
approach called academic mentoring.
We teach you the syllabus for your specific subject as well as

mentoring you, equipping you with proven study, exam and life
skills! We work with you 1 on 1 to identify your specific strengths
and challenges so we can address your individual learning
needs to help you master the school syllabus and improve your
results.
So if youre behind, well help you get up to speed, or if you need a challenge well push ahead
either way youll get exactly what you need to help you achieve your goals. Thats why weve
helped over 2,500 students achieve an average mark increase of 19.41%!
The How to Get a Band 6 Guide Series is a free series designed to help all HSC students
perform at their best with tips and tricks from the best!
The Authors
Maddison Leach completed her HSC in 2014, achieving an ATAR of
98.00 and Band 6 in all her subjects. Having tutored privately for
two years before joining Art of Smart, she enjoys helping students
through the academic and other aspects of school life, even
though it sometimes makes her feel old. Maddison has had a
passion for writing since her early teens, having had several short
stories published before joining the world of blogging and writing.
Shes currently deferring her studies until she starts her Bachelor
of Communication at UTS in the spring.
Elizabeth Goh isnt a fan of writing about herself in the third person,
even if she loves writing. Elizabeth joined Art of Smart in 2014 and
is both a Senior Academic Coach and the Digital Marketing
Manager. Shes since done a mish-mash of things with her life
which includes currently studying a Bachelor of Arts (Politics
and International Relations) with a Bachelor of Laws at
Macquarie University alongside a Diploma of Languages in
German, working for NSW Parliament, and collecting antique
typewriters. Elizabeth is also an active youth mental health
advocate and motivational speaker.
Copyright 2016 Art of Smart Education All rights reserved. Page !3

Area of Study: Discovery

!
Understanding the HSC English Area of Study -
Discovery
Introduction
Have you started the Area of Study HSC Discovery and have found yourself staring blankly
when your teacher asks you:
What is discovery?
You might know exactly what the word means, but how can you explain it in a way where it is an
enduring idea rather than merely a word in the dictionary?
To help you get your head around HSC Discovery, weve used two fairly popular Hollywood films,
Captain America: The Winter Soldier (2014) and The Theory of Everything (2014) to illustrate discovery
as a concept so you can then apply this to your own specific prescribed text.
Both films are filled with discoveries, and youve probably watched them and if you havent,
please do! Also, theyve both been out for a while, so there will be spoilers. Sorry, not sorry.
Keep in mind that you should not use Hollywood films for your related texts. Hollywood films
often often compromise meaningful substance for entertainment value - just think of Michael
Bay asking for more explosions for no reason other than its fun.
Brain Dump!
Before you start, create a mind-map of everything you think Discovery is about. Your brain
dump can be anything from quotations to films to songs to words. This will help to warm you
up for what you think HSC Discovery might be about. Heres mine below.

!
The Syllabus
How to Read the Syllabus
Your teacher has probably told you about the HSC Syllabus before it will be your best asset for
absolutely slaying HSC Discovery, so youll need to keep it handy.
! If you havent seen the Syllabus yet, you had better click here and keep it handy!
(Pst, important stuff starts on Page 9!)
When youre studying English, it might seem like your teacher is grabbing concepts out of the
air, but theyre not. Theyre actually just going through the Syllabus as it provides a long-winded
definition on what discovery is, and how it can be experienced.
Reading it can be a very laborious task, especially when youre not sure what a great lot of it
means.
Thats where we deconstruct it!
Represented in and through texts.
The Syllabus is very clear about what it expects from you:
This Area of Study requires students to explore the ways in which the concept of
discovery is represented in and through texts.
To explore a text means to enquire into, or discuss a subject in detail in order to learn more
about the subject. What you are exploring is the concept of HSC Discovery, and how it is
represented.

!
Thus, in order to understand what youre supposed to be doing with the concept of HSC
Discovery, you must first understand the concept of representation in English.
In literary theory, representation is:
- To look like or resemble;

- To stand in for something or someone;
- To present a second time; to re-present.
If we were to apply this to Captain America: The Winter Soldier, youd get this:
To look like or resemble:

Steve Rogers/Captain America takes on the colours of the Star-Spangled
Banner (red, white and blue), in order to resemble a human-version of the flag
of the USA.
To stand in for something or someone:

Steve Rogers/Captain Americas practice of strong American patriotism, loyalty
for his nation and friends, and honour in his service to the American military
are reflective of the World War II-era values of patriotism, loyalty and honour
expected of the people, and of their soldiers.
To present a second time; to re-present:

Steve Rogers/Captain Americas maintenance of these World War II-era
When youre exploring the concept of HSC Discovery, you need to figure out how the concept has
been represented in your text.
When youve wrapped your head around the concepts of HSC Discovery, make sure to ask
yourself how that concept has been represented.
In other words, ask yourself how [Discoveries] can lead us to new worlds and values may look
like in your text, or what stands in for this concept.
1. Go through the Syllabus and highlight keywords (e.g. sudden and provocative) that you
do not understand.
2. Look up these words in a dictionary, and find two synonyms for the word. This will help you
to understand what it means.
3. Rewrite the syllabus in your own words.

For example: [Discoveries] can also be confronting and provocative can be rewritten as Discoveries can be
traumatic, and can instigate a response (positive or negative) from the person making the discovery.
Copyright 2016 Art of Smart Education All rights reserved. Page 7!

What is HSC Discovery?
The organic dictionary definition of discovery is:
the action or process of discovering, or being discovered, which (when you remove the
annoying word, discovery from its own definition) is to find or search.
So basically, you are exploring the act of finding, or searching.
However, there are loads of ways that you can do that, and being a fan of the Socratic method of
learning, Ill be asking questions to help you answer your question on the different wants of
discovering things.
This is why Ive have broken up the Syllabus: where the Syllabus provides a definition, Ive
provided questions which can help guide your understanding of the concept.
1. What is the definition of Discovery?
Discovery can encompass the experience of discovering something for the first time or
rediscovering something that has been lost, forgotten or concealed.
2. How can you experience a Discovery?
Discoveries can be sudden and unexpected, or they can emerge from a process of
deliberate and careful planning evoked by curiosity, necessity or wonder.
3. How can you react to a Discovery?
Discoveries can be fresh and intensely meaningful in ways that may be emotional,
creative, intellectual, physical and spiritual. They can also be confronting and provocative.
4. What can making a Discovery do for you?
They can lead us to new worlds and values, stimulate new ideas, and enable us to
speculate about future possibilities. Discoveries and discovering can offer new
understandings and renewed perceptions of ourselves and others.
5. How can we relate to Discovery?
An individuals discoveries and their process of discovering can vary according to

personal, cultural, historical and social contexts and values.
6. Who or what does Discovery affect?
The impact of these discoveries can be far-reaching and transformative for the individual
and for broader society. Discoveries may be questioned or challenged when viewed from
different perspectives and their worth may be reassessed over time. The ramifications of
particular discoveries may differ for individuals and their worlds.
As such, all of these can be considered types of discovery. Lets dig deeper into each one.
!
1. What is the definition of HSC Discovery?
Discovering something for the first time.
Everyone has to discover something for the very first time. Whether its catching a ball or riding
a bike, we have all had to discover what it is and/or how to do it. How we receive, comprehend
and respond to these Discoveries is defined by who we are and our values.
Sam Wilson: You must miss the good old days, huh?
Steve Rogers: Well, things arent so bad. Foods a lot better, we used to boil everything.
No polio is good. Internet, so helpful. Ive been reading that a lot trying to
catch up.
Sam Wilson: Marvin Gaye, 1972, Trouble Man soundtrack. Everything you missed
jammed into one album.
Steve Rogers: Ill put it on the list.
In Text:
At the beginning of The Winter Soldier, Steve is still getting used to the fact that hes been
frozen for 70 years and is in the current day USA as opposed to 1945 Nazi Germany fighting a
war for the Allies.
With so much time going by, life has progressed without him, and new things have popped up.
In a bid to catch up on lost time, Steve creates a list of things he needs to go through and thus
discovers new things about the world around him.
How is it represented:
The use of the close up on Steves notebook and the lengthy list he has already included
emphasises his excessive desire to discover new things in his world.

Rediscovering something that has been lost, forgotten or concealed.
Discovering can also mean rediscovering something lost, forgotten or concealed.
Occasionally, things can be lost; it could be something treasured like necklace lost at the park
or an essential piece of a once complete puzzle (Assassins Creed series, the scattered pieces
of Eden).
Things like a memory can easily be forgotten, even if it was crucial to that person.
Alternatively, in some cases, things can be concealed, like a family secret (The Book Thief by
Markus Zuzak, concealing of Max in the basement) or a childs adoption (Superman, the fact
that hes an alien from Krypton).
What has been lost, forgotten or concealed could be lost as a result of carelessness (e.g. a bad
quality clasp on the necklace, causing it to drop), or as a result of time (e.g. the event occurred
as a young girl, and now they are an old woman with failing memory).
Natasha Romanoff: And theres Starks father.

Steve Rogers: Howard.
Natasha Romanoff: Whos the girl?
In Text:
In The Winter Soldier, Natasha and Steve find an old S.H.I.E.L.D base at the abandoned and
derelict Army training camp where Steve was initially trained as a soldier. Upon the wall are
portraits of people he knew from 1945, both alive and dead. Steve, who has not revealed his
fondness for Peggy Carter (in the right portrait) to Natasha, purposely conceals the truth, only
to rediscover her as he remembers her back in 1945. Along side her are people that he knew and
worked with Chester Phillips and Howard Stark both of whom have died over time.
The juxtaposition of Natasha and Steves reactions towards the images shows the contrast of
how they both discover the past whilst Natasha is ignorant towards their significance, the
close up on Steves face represents his internal turmoil as tries to consolidate his reality from
1945 to current day.
Copyright 2016 Art of Smart Education All rights reserved. Page 1! 0

2. How can you experience a Discovery?
Discoveries can be sudden and unexpected.
Discoveries can happen when we dont expect them, or when we least expect them. When
discoveries come suddenly, they are often unplanned, and can often come as a shock to the
person making the discovery. As such, the persons reaction may be unpredictable, and may
trigger a reaction.
Steve Rogers: Bucky?

The Winter Soldier: Who the hell is Bucky?
In Text:
After a lengthy fight scene with The Winter Soldier, Steve ends up discovering that the man is
actually Bucky Barnes, his best friend who he believe died falling from a train during World War
II a person he least expected to be alive.
Throughout the fight scene, the dramatic camera angles take the side of whomever is winning
at the time. The sudden discovery of Bucky being the Winter Soldier finds Steve looking up at
Bucky, but the camera angle focusing straight upon him, as it does with Bucky, brings them
both together as equals as they once had during World War II. This exacerbates their respective
contrasting reactions of shock (for Steve) and confusion (for Bucky).
3. How can you react to a Discovery?
Discoveries can be fresh and intensely meaningful in ways that may be emotional,
creative, intellectual, physical and spiritual.
Humans are deeply complex being with so many layers which make us unique. In everything we
do, we experience it differently to any other person. We are made up of so many different
components which alter how we respond to things. As such, we can respond to things like so:
Emotionally:
When we discover, we can feel different emotions happiness, sadness, rage or envy
(Band of Brothers: Why We Fight, the discovery of the concentration camp forces soldiers to
contemplate the cruelty of man).
Creatively:
As a result of a discovery, we can see things different to the way we previously saw things
from logically to abstractly (The Producers, Leo Blooms auditing mistake has Max
Bialystok discover a new get-rich plan).
Intellectually:
When we make a discovery, we can process it logically academically. (The Martian,

Watneys discovery that hes been abandoned on Mars and has to survive himself).
Physically:
When we discover something, we may become physically ill or energised from the
discovery (Amadeus, Constanzes mother faints when Mozart announces their
engagement).
Spiritually:
A discovery can force us to contemplate life in a new way which inherently alters the way
we relate to the world around us (The Danish Girl by David Ebersdoff, Einars first touch of
the womans dress whilst modelling for his wife and the realisation of his real gender).
Jane: Are you alright?
Stephen: Ive got an idea. Ive got an idea Jane!
In Text:
In The Theory of Everything, his progressively weakening muscles forces Stephen to become
entrapped in a sweater as he tries to place it over his head without Janes help. While he is
stuck, he looks at the fireplace, and the way the embers flicker through the sweater. As he
observes it, it inspires him, and he begins to see the universe very differently as he did before,
and culminates in his cosmological theories.
The blurring of the visuals of both the human eye and the fire through the sweater allows us to
view the discovery Stephen has made from his point of view. By melding the fire and the human
eye into a colour scheme of yellow upon black, we view a black hole in a volatile state,
representative of the theory of which Stephen has just thought.
They can also be confronting and provocative.
When we make a discovery, we respond to it in one of the ways above. This can be confronting: it
can unsettle and threaten the individual in a negative way such as shock or sadness (The
Imitation Game, Alans lie that he does not love Joan).
It can also be provocative in the sense that the individual may choose to act on the information
due to the discovery (Captain America: The First Avenger, Steve discovers Allied soldiers are being
kept as prisoners of war, decides to save them himself).
This discovery can thus set the individual on a journey which challenges their beliefs or values,
or alters the way they relate to the world and those around them.
Stephen: Motor neurone disease. Lou Gehrigs Disease. He was a baseball

player.
Brian: Motor what? Sorry, Im lagging behind in my pioneering work on rare
automotive and baseball diseases. Come on, lets go to the pub.
Stephen: I have two years to live.
In Text:
When Stephen discovers that he has motor neurone disease, he withdraws into himself and
isolates himself from others. Brian, obviously concerned for his wellbeing, enquires about his
behaviour change, and when is told, initially deals with it light-heartedly and with denial.
However, when told that Stephen only has two years to live, he finds himself shocked that his
best friend has a potentially fatal disease.
In this scene, there is a distinct lack of sound effects, especially music. Music, and especially
Wagner, plays a vital role in Stephens life. The focus upon the dialogue in the absence of
background sound or music, accompanied by an unmoving camera focus upon Brians focus
forces the audience to view Brians shock and confusion, and thus how he is confronted with
the sudden discovery of Stephens condition.
4. What can making a Discovery do for you?
Discoveries can lead us to new worlds and values, stimulate new ideas, and enable
us to speculate about future possibilities.
Discoveries are intensely personal and the way that we process a discovery can lead to a
different way of thinking or feeling.
In some cases, discoveries and the act of discovering drives us to reprioritise what we consider
to be important, and forces us to contemplate why we valued it in the way that we did (The
Picture of Dorian Grey by Oscar Wilde, Dorians discovery of the mirror and cult of youth and
beauty).
Discoveries can validate or legitimise our beliefs and values, especially when they challenge
what we once held dear.
Jane: I want us to be together, for as long as weve got. And if thats not very long then
well, thats just how it is. It will have to do.
In Text:
When she discovers his illness, Janes witnessing of Stephens unhappiness and suffering
causes her to contemplate her future with him. The discovery validates her love for Stephen
with the consideration that he may die in two years.
The high-angle shot upon Jane from Stephens shoulder showcases her vulnerability when
confronting Stephen. This shot is synonymous with her reprioritisation of her thoughts and
feelings for Stephen due to his revelation of his condition to her. The switch to a low-angle shot
to the two of them whilst they kiss has the audience view them more strongly, as if this
compromise gives her new strength of character.
Discoveries and discovering can offer new understandings and renewed perceptions
of ourselves and others.
A discovery is the assumption of new information, and thus, helps us to expand our world view.
By being challenged or questioned by discoveries, we can have a new understanding on an area,
or view ourselves or others in a different light due to it.
In some cases, discoveries can reaffirm what we once knew (The Avengers, Lokis adoption and
his difference of appearance), or can provide a new way of thinking (Poccohontas, John Smiths
admiration of Native American culture and desire to understand it).
In other cases, we may see ourselves differently, and regard ourselves in the past, present and
future self.
STEPHEN watches everybody talking, eating, drinking, being wonderfully, effortlessly

dextrous. FRUSTRATED, ENVIOUS, and saddened, STEPHEN watches closely then, before
emotion breaks through, rises, grabs his TWO WALKING STICKS and starts to leave.
In Text:
Although he has adapted somewhat to his illness, the discovery and experience of motor
neurone disease forces Stephen to view himself different to others who do not experience the
illness. He observes their ability to do things that the Stephen without motor neurone disease
could once do with ease, but the current Stephen can no longer do.
In this scene, the camera angle forces the viewer to see Stephen through the interactions
across the table. His struggle to feed himself with some difficulty is juxtaposed with the ease of
movement of the dinner guests, exacerbating his condition. When the camera commits to a
long shot of the table with a close up of the hands over faces, the audience is immediately
reminded of the opening scene where is nimble and able when riding his bicycle a stark
contrast due to his condition to not only the audience, but to Stephen.

5. How can we relate to Discovery?
An individuals discoveries and their process of discovering can vary according to

personal, cultural, historical and social contexts and values.
There are many components that can alter the way we view a discovery, and make a discovery.
As multifaceted beings, our background, history and personal social contexts shape our beliefs
and values as these are the components which give us substance and understanding.
Personal context:
Our personal context is the one which we bring to the table. It is who we are against the
rest of the world. It is our relationship to ourselves, others and the world around us.
Cultural context:
Cultural context involves the society we live in, and how we express ourselves through art,
morals, law, custom and habits which can affect our behaviour and our opportunities
(The Last Samurai).
Historical context:
Where we are situated in the history of the world and mankind heavily influences how we
can make a discovery, or how we process a discovery as events and attitudes can
influence how it can be viewed (Briar Rose by Jane Yolen, discovery of grandmothers
Holocaust experience).
Social context:
Our immediate physical and social environment causes us to react in a way which would
be appropriate for ourselves against what we value and believe. In some cases, our social
context may emphasise our qualities, or challenge them (Testament of Youth by Vera
Brittain, restriction on womens education)
Steve Rogers: By holding a gun to everyone on Earth and calling it protection? This isnt
freedom. This is fear.
Nick Fury: And its getting damn near past time for you to get with that Programme,
Cap.
In Text:
When Nick Fury reveals the designs for the Triskelion to Steve, Steve is immediately infuriated
with it. As a fossil from 70 years ago, his cultural context was the fight against oppression
(Nazi Germany), with the belief that only people who should hold a gun are military, and
fighting for their nation and freedom. As such, his idea of the liberty to live freely is embedded
in the same freedoms offered in 1945 one without an oppressive government. Fury, however,
asserts that that was the thinking of a bygone era.
The use of red, blue and white in this scene substantiates Steves claim of the classic American
freedom. The discovery of the Triskelion forces him to consolidate his beliefs and values of
freedom, and the colour scheme emphasises his representation of the old American values in a
new world.
6. Who or what does Discovery affect?
The impact of these discoveries can be far-reaching and transformative for the
individual and for broader society.
Some discoveries are not restricted to the individual, but can be far felt by those around them.
In some cases, the discovery may be so substantial that it is an experience shared and enjoyed
by a community (Jurassic World, splicing of dinosaurs for entertainment).
This can amount to a change in values due to an amount of new information entering into ones
knowledge, and it can be transformative in how people assume and utilise the information
(Black Books, Manny and ingesting the Little Book of Calm).
Jane: Sowhat do cosmologists worship then?

Stephen: A single unifying equation that explains everything in the universe.
In Text:
Stephens transformation of science from purely understood by theoretical physicists and

scientists to popular science translates the way in which the common person took on
information about the origins of the universe. The publication of A Brief History of Time
becomes an instant best seller, and transforms the way people understand how the universe
first came about.
The abundance of copies of A Brief History of Time, together with the crowd and cameras gives
us a scale as to how important Stephens discovery has been. As such, we are capable of
viewing how far-reaching the discovery has been, not only for Stephen, but to the wider
community curious about the origins of the universe.
Discoveries may be questioned or challenged when viewed from different
perspectives and their worth may be reassessed over time.
Some discoveries can be challenged for their validity, or because it is inconsistent with the
values or beliefs of the other individual. As such, the person who made the discovery may be
forced to prove the worth of the discovery, and to assert the legitimacy of it in order to garner
the approval of the other person (Peter and the Wolf).
However, in some cases, it can force a divide between them, and exacerbate existing tensions to
a point of no return.
John Taylor: Im afraidthis is complete nonsense. Its preposterous.

Stephen: Was it something I said?
[Later]
Khalatnikov: I came here today expecting to hear a lot of nonsense. I go home
disappointed. The little one here, has done it.
In Text:
Stephens position as a physicist and mathematician lead him on a pursuit to theorise the
origins of the universe. His lifetime dedication to the issue challenges Janes religious beliefs
and devotion to the Church of England and to God. Their marriage breaks down due to an
accumulation of issues: the pressure of caring for the chronically ill Stephen and their children,
the constant challenge of religion against science. The initial discovery of Stephens motor
neurone disease fades as time goes by, and his obsessive plight for discovering the origin of
the universe causes a peak of no return.
We see John Taylor storming out from Stephens point of view, emphatic of Stephens
introduction before the scientific community. The low-angle shot portrays Stephens position
as subject to the approval of the community, and John Taylors exit from this low-angle shot
delivers an emphasis on his differing perspective.
The ramifications of particular discoveries may differ for individuals and their
worlds.
Making certain discoveries can result in drastic implications for those who are making the
discovery, and to those around them.
Discoveries can affect the individual both positively and negatively, and as such, the
consequences of the discovery may substantially alter the individual and their world.
Their lives could improve as a result of the discovery (The Princess Diaries, discovery of royal
heritage), or they can be doomed because of it (Star Wars: Episode 2, death of Anakins mother).
Bucky Barnes: Youre my mission!

Steve Rogers: Then finish it cause Im with you to the end of the line.
In Text:
Steves initial reaction to the Winter Soldier was to end him permanently so that Hydra cannot
continue its plans. However, upon discovering that the Winter Soldier is his childhood friend,
Bucky Barnes, whom has been experimented on and completely brainwashed, he chooses not to
kill him in hopes that Bucky will rediscover who he was.
In this scene, Bucky has the upper hand, which is made obvious from the low-angle shot from
Steves point of view. Although this delivers the sense of Bucky being stronger and more
intimidating, the subdued colours of both of their clothing against the background directs our
view to their expressions; whilst Bucky deals with his identity with anger and frustration, Steve
is passive, drawing the stark contrast of how the discovery of Bucky as the Winter Soldier
differs for individuals.
Making Your Rubric
Hopefully now you will have a better idea as to what HSC Discovery is it was a bit of an
information overload so be sure to read over it again.
As you start to study your Prescribed Text, you will come across the ways in which HSC
Discovery are represented in it. Scrawling in your book might make it look well loved, it doesnt
mean that youll retain it for the exam. The best thing you can do is make your own rubric now
so you can reference later.
Use the TECHNIQUE EVIDENCE EFFECT Method for Your Texts
As you go through your text, be sure to identify anything that the composer has done in order to
give meaning to the text.
If you look above, what Ive done is a bit of that: Ive referenced camera angles or sound editing
(technique), given how it was used (evidence) and analysed how it gave meaning to the scene
(analysis).
When you go through your text, this table will become your life saver for when youre going to do
your assessments as exams as you will be able to reference it without even opening your book!
Why is the TEE Table a good idea?
Because the Syllabus requires you to do the following:
In their responses and compositions, students examine, question, and reflect and
speculate on:
- their own experiences of discovery
- the experience of discovery in and through their engagement with texts
- assumptions underlying various representations of the concept of discovery
- how the concept of discovery is conveyed through the representations of people,
relationships, societies, places, events and ideas that they encounter in the
prescribed text and other related texts of their own choosing
- how the composers choice of language modes, forms, features and structure
shapes representations of discovery and discovering
- the ways in which exploring the concept of discovery may broaden and deepen their
understanding of themselves and their world
1. Make sure to include every type of HSC Discovery into the table.
2. When you fill it out the Technique and Evidence, have a keen focus on:
composers choice of language modes, forms, features and structure shapes; in therepresentations of
people, relationships, societies, places, events and ideas.
3. You should have a minimum of THREE examples for each type of Discovery.
! 2
How to Get Full Marks for the Area of Study
Unseen Texts
While its straightforward enough to study Discovery and practice writing essays, preparing for
the first section of the Area of Study is a little trickier. Knowing how to plan and get full marks
for HSC unseen texts and the questions about them, as well as how to actually answer them,
can often seem impossible!
However, by figuring out how to break down unseen texts, its actually super simple to figure
out how to write about them, and get full marks for HSC Unseen Texts! In learning how to
analyse these texts, dissect the questions about them and develop awesome, sophisticated
answers youll be well on your way to full marks in section one of your HSC English paper. So
lets get started on How to Get Full Marks for HSC Unseen Texts!
What is Section One?
The first section of your first English HSC paper (your Area of Study paper) is essentially your
unseen texts section. The first page will have something like this at the top:
Basically this section provides 3-4 texts that you need to read/view, analyse, then answer
short questions on. The texts are generally all of different types (novel excerpts, visual texts,
poems, etc.) but will be linked to your area of study in this case, Discovery. This means that
even though you havent actually seen any of them before, you know what kind of information
and themes you should be looking for in them!

! 4
This section makes up 15 marks of your paper and usually has 3-5 questions, each worth a
certain amount of marks. The most common mix is to have three 3 mark questions and a 6
mark question, or a 2 mark, two 4 mark and a 5 mark question. While the questions worth less
marks are generally pretty easy, its these last 5 or 6 mark questions we need to really think
about these are the one this article will mainly focus on.
Throughout the article well be working through an example question from a past paper.
Unfortunately its still focused on the old Area of Study (belonging) but its still very useful to
us!
Well be focusing on the question above and the below excerpt of one of the unseen texts.
Step 1: Read the text critically
The first and most important step is to read the text. It seems obvious, but reading the text is
more than just looking at the words you have to read it critically. This means picking up on
things that will be useful in your analysis, but not going into specifics yet.
Things you can pick up on in a first read include;
1. Structure
2. Tone
3. Atmosphere
4. Setting
5. Point of view
6. Character voice
7. Themes
Theyre simple enough, but these are the things that give a text its overall feeling and will help
you in analysing it. By knowing how a text feels, its easier to then pick up on more specific
literary and visual techniques.
Example
Our example has a few things that we can pick up on quickly in our first read through that help
us figure out the feel of the text
The opening sentences are descriptive and involve discussion of senses, creating a strong
sense of place and setting in a very familiar location for the narrator. The second paragraph
gives a brief introduction to the narrator as a character and gives us someone to match the
narrating voice to. Finally, the last sentences are all short, which immediately gives us
something to comment on in regards to structure.
Even though these are small things, they gives us a quick idea of how the text feels and help
us know where to look for techniques in the next step.
Step 2: Identify visual/literary techniques
As with any text youre about to analyse, you need to find techniques to comment on this
means annotating! Simply grab a highlighter or different coloured pen and begin to go through
the text making note of techniques you could use in your analysis. At this point pick out any
and all techniques you can find, but try to avoid any really weak ones.
! Spend some time going through out our LITERARY, VISUAL and FILM TECHNIQUE
CHEATSHEETS which are included at the end of the Guide!
This will help you to identify the techniques you will come across in the example
unseen.
Example
Here weve highlighted all of the strong techniques in the text that could be commented on in
our analysis.
When annotating its a good idea to write what the technique is as well as a very brief
description of how the technique is working or what its doing. Have a look at these annotations
for our example text to see how its done!
- Personification indolent meaning lazy or inactive, presents the town as quiet or slow.
- Simile creates a sense that the railings are permanent and unmoving.
- Descriptive language adds to the sense of the town being slow paced.
- Sense imagery description of sense of smell to further reader immersion.
- Figurative language/metaphor implies the narrator is fully immersed in their own
world and its sounds, etc.
- Personification/aural imagery used to break the tone of peace.
- First person pronouns creates personal link between readers and the narrator.

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Step 3: Read the question + break it down
Now we have to look at what were actually being asked to do with the text. Some people say to
read the questions first, but most students find that its easier to answer a question if they go
into it already having a few techniques in mind!
Having done that its important to break the question down to see exactly when we have to do
to answer it. This is just like breaking down any English question, but because these questions
are worth fewer marks it usually has fewer components! Youll also want to look for key English
vocab that will clue you in on how to answer the question.
Example
Going through the question and highlighting the key words makes it really easy to pick out just
what you need to comment on in your answer! It also tells you what kind of techniques youre
going to want to be analysing in order to answer the question.
Having highlighted key points, lets break down what each one means:
Analyse The markers are looking for you to use techniques from the text to break down
what the text is actually saying. The best way to tackle the example is by using the TEE
method to show how the text represents an overall idea.
Complex relationship This simply means youll be looking at how one thing relates to
another. It seems simple, but remember to refer to both parts of the relationship,
otherwise the markers wont know if you actually understand it!
People and communities This is our relationship! Just make sure to mention people
and the communities theyre in when youre doing your analysis of the complex
relationship and you should be fine!
Portrayed effectively The portrayed part means that we want to be looking at specific
examples from the text, meaning our techniques from before! The effectively simply
means we want to choose the strongest examples to prove our point/idea about complex
relationships.

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Step 4: Which techniques suit the question?
Using the techniques you highlighted and annotated before, nows the time to start thinking
about which ones would work best to answer the question. This means you want to be looking
for the strongest techniques of course, but you also have to consider how you can analyse them
for the question.
Youll want 3 techniques for a 5/6 mark question. Anything less and you wont have enough to
write about, anything more and you wont be able to go into enough detail!
Example
Our question focuses on the relationships between people and their communities, so we need
to choose techniques that are used to effectively portray that. Looking back at the techniques
we highlighted, its pretty clear which three will work the best for this question.
Nows a good time to quickly expand on our brief descriptions from before, so that we know
exactly how were going to relate the technique to the question. This will help when we actually
have to write our response.
Personification indolent meaning lazy or inactive, presents the town as quiet or slow. It
immediately shows readers how the narrator perceives the town/community around
them.
Figurative language/metaphor implies the narrator is fully immersed in their own

world and its sounds, etc. Creates a sense that the community itself is washing over the
narrator and that they are happy with it.
First person pronouns creates personal link between readers and the narrator. The
sentence shows that the narrator seems to wake with the town.
Step 5: Answer with STEEL
By now youve probably heard of the STEEL format a thousand times, but if not heres a quick
refresher on what the acronym means.
When answering short answer questions you dont need to be quite as in-depth with your
structuring, so generally its best to structure your response in a modified STEEL format like
below.
Basically youre repeating the TEE section three times, but only having one statement and link
at each end. This allows you to get all the information down in a structured way without wasting
time on extra statements or links! Remember, youre only going for 5/6 marks so you dont need
to go into too much detail.
Example
The complex relationship between people and their communities is effectively portrayed in text
three through its use of personification, figurative language and first person pronouns.
The opening sentence of the text employs personification as it describes the indolent town,
evoking a notion of the town as a slow-moving, quiet community. The negative connotations of the
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word prompt the audience to wonder what sort of relationship the narrator has with this indolent
town. This question is furthered when the narrator describes the tolling of the dawn bells, saying
They flood over me, drawing me out of myself., the figurative language suggesting that the town
itself holds sway over the narrator. Audiences are thus made to feel that the narrator is more
affected by the town than he lets on, the fact that the bells have such an impact on him implying a
more complex relationship. Finally, the use of first person pronouns in the sentence I cannot sleep.
evokes a sense of the narrator almost being at one with the town, the fact that it is beginning to
wake up in the early dawn meaning that he must rise too.
This combination of seemingly contrasting interactions between the narrator and his town are
evidence of the fact that peoples relationships with their communities are often complex and
contradictory. Though the narrator labels his town indolent with heavy negative connotations, he
also feels compelled to wake with it each morning, the use of personification, figurative language
and personal pronouns thereby working together to show just how complex peoples relationships
with their communities may be.
And there you have it one awesome response to an unseen text question!
Step 6: Put It Into Practice!
Heres a text and a question, now give it a go!
Study Plans, Techniques & Exam
Skills
How to Find the Perfect Related Text
Youve probably heard a whole bunch of different advice about good and bad related texts for
HSC English by now including:
1. Dont pick something popular

2. Always read the book
3. Never go with the obvious.
All of these tips can come in handy, but they dont really tell you how to find your related text, do
they?
Thats why weve written this step by step guide to help you ACTUALLY find a kickass related
text for HSC English!
By the end of this article youre going to be the master of an awesome, 3 step formula that can
help you choose an awesome related text for any topic. Well basically be showing you exactly
how to find a whole bunch of texts, then narrow it down to the perfect text for you!
What is a Related Text?
Before we get started with actually choosing our related texts for HSC English, we need a little
bit of background information on just what a related text should be. An easy way to think of this
is actually in the word related.
If someone is related to you, they probably share a few of your features maybe your uncle has
the same nose, or your cousins gap-toothed grin matches yours. But even though there are
some similarities, theyre your relative, not your twin, so there are going to be some major
difference too.
!
That means that a related text should essentially be like a relative of your
prescribed text similar in some ways, but not the exact same!
With that in mind, lets get started on our 3 step formula to find you some awesome related
texts!
Step 1: Find the Topic Themes
The first thing you need to consider when choosing a related text for HSC English is how it suits
the topic! As mentioned above, you want to look for some similarities to the prescribed text
those are going to be in the themes.
A theme is defined as:
An idea that recurs in or pervades a piece of art or literature.
So basically its a key idea in a text. Theres usually a whole bunch of themes in any given text,
with some being more important (major themes) and others being less so (minor themes).
These themes are what youre going to end up analysing when you write your essays!
The best place to find the themes for any topic of study is actually in the prescribed texts. Some
can be obvious, for example a romance novel will have relationships as one of its key themes.
Its not always that easy though, so lets look at just how to identify themes in prescribed texts.
Over time Ive found 2 methods that work really well to identify a texts themes;
- Moral of the story

- One word descriptions
The first method is really good at identifying any texts major themes, while the second can
more easily pick up on both major and minor ideas! Lets check them out.
Method 1: Moral of the Story
What it does: gives you one or two themes that are really strong and central to the text.
Because themes are like underlying messages in texts, its easy to think of them as being the
morals of a story. This means that theyre the important value the text is trying to teach us.
By identifying the moral(s) of a text were essentially identifying the key themes as well, making
it really easy to figure out what a topics major themes are.
Lets take a look at an example well use the prescribed text Life of Pi (for Discovery).
The film follows Pis journey as he and his family leaves their zoo in India
only to have the boat theyre travelling on sink, leaving Pi adrift on the ocean
in a life raft with a tiger. The story shows how Pi overcomes terrible odds to
survive, figuring out different ways to get food and water and eventually
bonding with the tiger, Richard Parker.
Even from this brief synopsis we can pull out two big morals of the
story;
- that discovery can lead to survival; and

- that relationships can be formed from discovery.
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Those are extended themes that have been made to suit the topic (see how both relate back to
the idea of discovery) but in simple terms they could be considered themes of survival and
relationships.
Youre best off applying this method to several different prescribed texts, otherwise you simply
wont have enough themes to use later on.
1. Think about the last prescribed text you studied. Write down the 2 biggest morals in the
story.
2. Use your 2 statements of morals, turn them into an extended theme (like we did for the
Life of Pi) for the topic for which your text was prescribed!
Method 2: One Word Descriptions
What it does: gives you a whole lot of themes to work with, though not all of them are central to
the text.
This method isnt as precise as the first, but it is very good at helping you identify a whole range
of themes quickly! This gives you lots of idea to work with, which in turn often leads to finding
interesting or uncommon themes to explore.
The easiest way to come up with themes using this method is to ask yourself questions about
the text and answer with one or two words.
Well use Life of Pi as an example again.
Q: What is Life of Pi about?

A: Surviving.
Q: What is most important to Pi?

A: Family, spirituality.
Q: How does Pi keep going in the hardest times?

A: Faith, determination.
Even from these three questions we have five different ideas we can work with;
Surviving
Family
Spirituality
Faith
Determination.
Theyre pretty basic at the moment, so we have to expand them to suit the topic properly.
They could become:
Discovery can mean surviving

Discovering the worth of family bonds
Spiritual discoveries
Discovering the value of faith
Determination leading to discovery
With this method youve essentially given yourself a bunch of ideas to work with and get to
choose which ones you like best later on. Plus, if you find you need more themes its only a
matter of asking more questions!
1. Like last time, think of a prescribed text you recently studied now ask yourself these 3
questions and give single word answers;
a) What is it about?
b) What is most important to the main character?
c) What motivates the main character?
2. Expand your single words into themes to suit the topic and there you have it!
Which is better?
To be honest, using both methods together is the best way to go.
Even though it may seem like a little more work, using them both allows you to identify the
most major and minor themes possible, which is going to be really important in the long run.
Plus, it means youll know exactly which themes are central to the story (those from method 1),
so you can focus more on those.
So now that we know our key themes for the topic, what do we do next?
Create a List of Your Themes
From the themes we gathered using the methods above, create a list of all the themes related
to the topic youre studying.
Keep this on hand for the rest of the process, as youll continue to refer back to it to make sure
that the texts youre looking at suit your area of study.
If you look at your list and already know a few texts that feature similar themes, thats great! It
means youll use the next two steps of the method in different ways well cover that when we
get to it.
1. Using the themes you gathered yourself jot down a quick list of themes and any others that
come to mind!
You can use this later, both for this article and your own study.
Step 2: Choose a Text Type
One of the biggest places students let themselves down when it comes to choosing a related
text for HSC English is when they dont consider text types. It may seem unimportant, but
making sure that you consider the type of text you choose just as much as you consider its
context is key to selecting a great related text.
What texts types are there to choose from?

- Film - Poem - Song (only if you have a
- Novel - Play musical background)
- Short story - Speech
This list is ordered by popularity, but that doesnt mean you should avoid the top few types just
because theyre common:
- Novels, films, short stories and poems can all be analysed incredibly well without much
assistance from a teacher or tutor, so long as theyre given the right consideration;
- Plays are usually a little trickier to analyse because of their format (and people dont like
reading them), as are speeches;
- Songs should only be used if you have a musical background (more on this later).
! A first piece of advice: DO NOT choose a movie just because its easy.
Most markers regard the use of films as lazy work, especially if theyre Hollywood
films!
Thats not to say dont use films at all! I actually used films for most of my related texts in year
11 and 12 English and went really well but only because I considered the text type first.
But what exactly does that mean?
There are two questions to ask yourself when choosing a text type:
- Is it the same as the prescribed text?

- Can you write about it?
To understand why these questions are important lets take a closer look at them.
Is it the same as the prescribed text?
This one is pretty simple.
Whatever text type your prescribed text is, dont choose a related text of the same type.
So if your prescribed text is a novel choose a film, poem, or something else instead. Likewise, if
youre studying a play in class dont choose another play for your prescribed text.
It may seem obvious now but a lot of students forget to take this into consideration when
choosing their related texts and end up with two of the same type.
Though this isnt necessarily the end of the world, its much better to vary it because it shows
markers that you can analyse different text types. Plus it means you get to look at different
type-specific techniques and how theyre used to show the same themes.
Also try to mix up related text types between topics/modules. If youre using a film for Module A,
go for a poem in Module B. Itll help improve the range of types youre comfortable writing
about!
1. Think about the last three prescribed texts you studied in class what text types were
they?
2. Write the types down on a piece of paper for later.
Can you write about it?
Now I know what youre thinking What do you mean can I write about it? Im in my final years
of high school, obviously I can! but hear me out.
Writing about a text type isnt as simple as mentioning that your related text is a poem in your
introduction. What its actually about is recognising and analysing the type-specific
techniques within the text.
Whats a type-specific technique?
These are the techniques that you can only find in certain text types or are used in very specific
ways for certain types.
For example camera angles, wide shots, costuming and lighting are techniques youll only find
in film, whereas soliloquies, stage directions and asides are typically specific to plays.
Basically type-specific techniques are what one text type has that none of the others do its
what makes it the type that it is.
A Warning on Using Songs
You have to take special note when it comes to choosing songs, as a lot of students do this and
end up getting poor marks. If you choose a song for your related text, you have to have a
musical background. This is purely because the text includes music and therefore you have to
analyse the music in order to do well. Too many students only analyse the lyrics and end up
being disappointed in their marks, so unless youre a music whiz as well, avoid using songs!
So why is all this important?
Because for whatever text type you choose youll have to make sure to focus on the type-
specific techniques, so choose on that you know about. If you really enjoy writing about the
different techniques in novels, go for it! If you know your analysis skills are stronger in the film
department try that instead.
To help you wrap your head around literary, film and visual techniques, weve included
CHEATSHEETS in this Guide! Each technique is accompanied by an example - be sure to check
them out!
Play to your strengths where you can and youll have a better essay in the end.
1. Copy down the list of text types from before and rank them from 1 to 7:
a) 1 = the type youre most comfortable writing,

b) 7 = the one you dont want to touch with a six foot stick.
Youll need this in a minute so do it now!
Making the Choice
Now that youve asked yourself what type your prescribed text is and whether you can write
about the type you have in mind, its time to pin down a text type.
You probably already know what you want to use just from thinking about it, but if not the
easiest way to do it is by knowing your options.
Follow these steps to pick your text type:
1. List all the text types

2. Immediately cross off whatever type your prescribed text is
3. You can also cross off the Song category if you dont have a musical background
4. Then number your top 3 of text types youd like to write about you can use your
numbered list of text types from earlier to figure this out.
5. From there, choose one of your top three and youre ready to go!
This is what it should look like:
The reason you dont always necessarily want to go with your number 1 text type is purely
because otherwise youll probably end up using the same type every time. Remember to mix it
up a little!
1. Using your list of past prescribed texts and your text type preferences, create a list like the
one above for each of the prescribed texts you wrote down.
This way you know exactly how the process works for when you need to choose a related text next time.
Step 3: Understanding Literary Merit
The reaction I get from students when I mention literary merit is always the same; Literary
what?.
Before we get started lets clear up just what were actually talking about.
Definition:
Literary merit is the quality shared by all works of fiction that are considered to have
aesthetic value.
The concept of literary merit has been criticised as being necessarily subjective, since
personal taste determines aesthetic value, and has been derided as a relic of a scholarly elite.
What that means:
Literary merit is a quality that is found in texts that are seen as being of proper and
meaningful value.
Many people think this is baloney, because whoever decides what does or doesnt have literary
merit is obviously going to be biased in some ways.
Its a little tricky to understand, but I used to think about literary merit as being the kind of
thing Jane Austen novels and Alfred Hitchcock films have - they have endured through time
and crossed different societies for their values and lessons.
Usually texts that have literary merit are older and have stood the test of time. You know how
your teachers sometimes get a far-off look in their eyes and talk about The Classics? Those
have literary merit.
Youre probably wondering why this matters, and Ill be honest with you it only matters
because the markers think it matters. The point is that a lot of the people who are going to be
marking your essays think that literary merit is the bees knees, so youre going to want to
choose a text that does have literary merit.
But wait, I hear you say, Does that mean I have to choose some boring old people book?
Not at all! Choosing a text with literary merit is actually pretty easy if you know where to look,
and fortunately for you I have a cheat sheet!
Literary Merit Cheats
The thing you need to know about literary merit is that its what a lot for critics use to judge
plays, poems, short stories, films and novels.
That means that the texts that the critics think are amazing are probably going to be the kind
that your markers think are awesome too. Obviously, this means the best place to find possible
related texts is by looking at what has won the big awards!
Films
- List of all the films that have won the Oscar for Best Picture.
- List of all the films that have won the Oscar for Best Original Screenplay.
- The Time Magazine list of All Time Top 100 Films.
- If youre more into independent and foreign film you can also try the Grand Prize winners
of the Cannes Film Festival.
Novels
- The Time Magazine list of All Time Top 100 Novels; or

- The past recipients of the Man Booker Prize if youre feeling brave.
Short Stories
It can be harder to figure out which of these have literary merit, but checking out the
winners of the Frank Conner International Short Story Award or any other similar awards.
If in doubt, Tim Wintons The Turning is a great collection of short stories many English
teachers love to see as related texts.
Poems
These are a little trickier too but you can try this list of Griffin Poetry Prize winners, or this
top 30 list of poems.
You can also google something like best poets of all time and cheat a little.
If its written by T.S. Elliot, Samuel Taylor Coleridge, John Keats, Emily Dickinson, Lord
Byron, William Blake, William Wordsworth, Maya Angelou, Sylvia Plath, John Milton,

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Rudyard Kipling, Emily Browning or Alfred Tennyson, you cant go wrong except for the
fact that some of them are being studied in Extension 1 English (make sure to check!).
Plays
Shakespeare. If you really, really, really dont want to do Shakespeare you can try
something like this list of the best plays in the last 100 years, but I mean Shakespeare
is right there.
Markers are also super impressed with Australian playwrights Louis Nowra, Patrick
White (one of Elizabeths favourite!), Joanna Murray-Smith, Nick Enright, Dorothy Hewett
and Ray Sewell are all Australian literary monoliths!
Or you could cheat and refer to this list of the Best Australian Playwrights.
Its now simply a case of going through these lists and seeing if you can pick out any texts
that you like!
Use the text type you chose in Step 2 to figure out what kind of text youre looking for and your
list of themes from Step 1 to figure out which of the texts you find will actually work.
Of course, you may not find exactly the text you want in these lists, but thats okay! Theyre
really meant to give you an idea of what literary merit looks like, so if you pick up your copy of
Die Hard you can immediately say to yourself That probably wouldnt show up on one of those
lists. Maybe I need to choose a different related text.
1. From the text types you chose in step 2 and the themes you jotted down in step one choose a
list and look through it to find a related text for ONE of the three past prescribed texts youve
been working with.
The Formula in Reverse
While the formula as a straightforward process is awesome and can help you discover some
amazing related texts for HSC English, its not for everyone. So, for those of you who prefer to
work with what they know or who already have a text in mind, simply use the formula in
reverse!
Step 1: Themes
Do the themes of your related match your prescribed text? Do step 1 as usual, then use the
same methods on your potential related text to find its themes. Are they similar? If they are
keep moving forward, if not maybe try finding a text better suited to the topics themes.

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Step 2: Text Type
This one is easy. Ask yourself these two questions very similar to the ones in the regular steps,
just do it with your potential related text in mind.
1. Is your prescribed text the same type as your related?

2. Are you comfortable writing about this related texts type?
If you answered yes to both of them youre good to go! If not re-evaluate your text type choice to
try to find a better one.
Step 3: Literary Merit
This step is up to you really. First check to see if your chosen text has won any prizes (hopefully
not any Golden Raspberry Awards though) and if it has roll with it. If not take a look at the lists
of text with literary merit in step three and ask yourself Could my related text be on this list? Is
it like these texts?. If the answer is yes youre fine, if not you may want to choose a new one.
1. Have a bit of fun this time!

2. Grab your favourite book or movie and see how awesome or lame it would be as a related text
for the topic youre currently studying in English.
Conclusion
So there you have it the formula to choosing a great related text!
The main things to remember are:
!
1. themes
2. type
3. literary merit
Obviously results are going to vary based on your personal preferences, the texts you may or
may not already have in mind, what topics youre studying and the like.
The point is really to give you a framework that will help you at least narrow it down and give
you some criteria to make finding a strong related text a little easier.
If you can get these down pat and always take them into consideration when choosing your
related texts, youll have an awesome outcome every time.
How to Analyse a Visual Text
Visual texts are generally one of the most confusing and panic-inducing things you can face in
the first section of your HSC English exam. Not because theyre actually any harder in fact, its
usually quicker to analyse them than written texts but because you have to analyse them in a
different way!
By breaking down the process into three simple steps, you can be writing awesome visual text
analyses in no time. All you have to do is figure out what youre looking at, what youre looking
for and how to structure your answer.
I promise its easier than it sounds.
What is a Visual Text?
A visual text is usually just a fancy way of saying an image when its related to English and
analysing texts. Basically it means that whatever your analysing is a visual medium think
book covers, picture books, posters or still frames from movies!
Usually the first section of your HSC English paper will contain at least one visual text, so its
important to know how to analyse and respond to it. For more information on responding to
unseen questions in the first section of the HSC English paper check out this article.
In this article well work through a past paper question based on a visual text unfortunately
its focussed on the old Area of Study (Belonging) but the skills were teaching remain the
same!
Step 1: Identify visual techniques
The first and most important step is to look at the visual text youre going to be analysing
thats pretty obvious. Because looking at images takes so much less time than reading a text
however, this is also when you should identify your visual techniques. You heard right start
looking for visual techniques right away!
The kind of techniques youre looking for are things like;

- Colour - Costuming
- Lighting - Gaze
- Vectors - Salience

! Spend some time going through out our LITERARY, VISUAL and FILM TECHNIQUE
CHEATSHEETS which are included at the end of the Guide!
The best way to pick these out in a visual text is to look at what your eyes are immediately
drawn to and figure out why: Is it because theres one patch of blue in an orange image? Or maybe one
figure is way bigger than another?
1. Label each of these techniques and then annotate them with a few words about what effect
the technique is having.
For example, if an image is mainly yellow, write something like Colour yellow has happy connotations, creates
joyful mood. Its that simple!
It seems a little odd to look for techniques before youve even looked closely at the question, but
this actually helps you in the long run.
By finding a whole bunch of visual techniques right off the bat youre able to go into your
question feeling more prepared, and immediately pick out which techniques will suit the
response you plan to write.
If you read the question first you may end up trying to find a specific technique you want to talk
about even if its not there.
Example: If the question asks about the mood of the image, you may immediately think
to yourself, Oh, lighting helps create mood, Ill talk about lighting!. The problem is that,
even though its a good technique to use, the visual text youre looking at may not actually
have a good example of that technique! Therefore its better to find some strong
techniques and fit them to the question, rather than trying to make the question fit to
weaker techniques.
Example
Our example has a few really obvious visual techniques as well as some subtler ones we can
pick out.
Colour contrast black and white figure contrasts with colour background, symbolic of
grey mood and not fitting in
Gaze offer gaze, creates a vector from the characters eyes to the text, encourages
audience to read the words
Text symbolically appears cut-out and disjointed, word connotations of smaller, lost
and alone
Colour the whole image is in rich, saturated colours to better contrast the black and
white figure
Angles the buildings/houses all appear at different angles, creating a sense of being off-
kilter or unbalanced
While we cant run straight into writing our response yet, this quick critical look at the text has
already given us a whole bunch of techniques to analyse later as well as marking exactly
where they are in the image and what theyre doing!
Step 2: Read the question + break it down
Nows the time to figure out what youre being asked about the visual text! Because youve
already got a whole bunch of visual techniques jotted down, its easy to start planning out an
answer right when you read the question or at least choose the technique youll focus on!
Its usually best to break down the question into its individual key words and phrases to
figure out exactly what the markers are looking for.
Once youve broken it down youll be able to figure out exactly which techniques from earlier
best suit the question, so its a good idea to jot them down too. Maybe even update your
annotations to make it clear how youre going to link the technique to the question being asked.
Well break down a question in the example, but for a more in-depth guide to breaking down
English questions check out this article!
Example
Going through the question and highlighting the key words makes it really easy to pick out just
what you need to comment on in your answer! It also tells you what kind of techniques youre
going to want to be analysing in order to answer the question.
Having identified key points, lets break down what each one means.
Analyse The markers are looking for you to use techniques from the text to break down
what the text is actually saying. The best way to tackle the example is by using the TEE
method to show how the text represents an overall idea.
Portray Portray is basically the fancy way of saying show! This means that we want to
be looking at specific examples from the text our techniques and how they show
something (the complex emotions/desire for connection).
Complex emotions The markers want you to think of emotions in a more sophisticated
way instead of just saying hes sad think about why hes sad, how we know that hes
sad, etc. Also try to think of other emotions that a character may be feeling and how they
conflict. Maybe a character is happy but also nervous, or sad but also relieved? These are
things to consider when thinking about complex emotions.
Desire for connection This is what our complex emotions should be about! Make sure
that all the emotions you talk about link back to a character wanted to connect or belong
in some way, and talk about how the text shows that (visual techniques).
Now to choose our best 3 techniques to focus on in our response!

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Colour contrast black and white figure contrasts with colour background, symbolic of
grey mood and not fitting in. Shows that character is aware of their lack of connection
and is saddened by it.
Text symbolically appears cut-out and disjointed, word connotations of smaller, lost
and alone. Emphasises characters lack of connection and the negative impact his
desire for connection has on his emotions.
Colour the whole image is in rich, saturated colours to better contrast the black and
white figure. Shows the outside as bright and happy, making it clear that the character
would desire to be connected with it and enjoy more positive emotions.
Step 3: Answer with STEEL
By now your teachers have probably drilled the STEEL format into your brain a thousand times
over, but heres a reminder of what the acronym means just in case.
Short answer questions like the ones youll be getting on visual texts dont need to follow the
STEEL method as strictly, though its good to still try to keep it in mind. An edited short-answer
STEEL like the one below is a great way to keep your answer short but structured.
Youll want to try to repeat the TEE section once for each technique, so three times all up, but
only have one statement and link. This way your response will be structured and contain all the
information you want to get across without it taking 20 minutes to write! Remember, these are
short answer questions so you dont need to go into too much detail.
Example
The complex emotions resulting from a desire for connection is effectively portrayed in text one
through its use of contrast, text and colour.
The figure in the lower left corner of the image is the most salient feature, his black and white
colouring creating a high contrast with the otherwise colourful background. This choice of colour to
greyscale contrast creates an immediate sense that the character lacks a connection to the world
around him, which results in his own sadness or grey mood. The text in the upper right confirms
this, not only through the negative connotations of words such as smaller, lost and alone, but
also through its stylisation as cut out fragments. This emphasises the sense of disjointedness and
disconnection borne of lacking connection and reinforces the characters emotions of isolation and
melancholy. Finally, the colour used in the rest of the image is rich and vibrant, a clear choice made
to present the outside world as desirable and full of colour. This prompts the audience to consider
that the character clearly desires connections with this world, but seems reluctant to make them.
This reveals a more complex emotional situation as he seems to actively choose to remain isolated,
perhaps out of fear of rejection.
Overall the image presents a complex insight into how a desire for connection can result in complex
emotions, as the character seems to both desire connections and actively avoid them. Thus it is
through contrast, text and colour that text one effectively portrays how complex emotions can
result from a desire for connection.
And its done one amazing response to a visual text question!
How to Break Down and Understand HSC English
Questions
How do you break down and understand HSC English questions? Remember to always read
the question properly.
Its something weve heard teachers say for years now: make sure you always read and
understand the question youre being asked before you try to answer it.
But when it comes to understanding HSC English, its not quite as simple as reading the
question you have to interpret it as well.
In this article, Im going to show exactly how to break down the different parts on an English
question, understand them, and then put them back together to start writing and awesome
response. By the time you finish scrolling, youll know exactly how to understand and break
down HSC English questions of even the trickiest kind!
Essay/Short Answer Questions
The most common are people struggle with is in the analytical section of the exam. Often the
questions seem too wordy, with a lot being written but not much being said. By identifying and
understanding key vocab and ideas, however, its easy to work out just what the question is
asking!
Example
In order to understand HSC English questions, first and foremost read the question fully this
way you get an idea of whats being asked and what you might need to do or include in your
answer.
Then go through with a pen or highlighter and break the question apart! If the questions has to
parts or sections use a different colour for each so that theyre easier to identify.
Now were ready to start interpreting what the question is asking. You do this by taking each
outlined section individually and defining the key words. Then write a short sentence about
what this means in relation to the question or topic! Seeing as the question is broken apart,
well analyse each part separately.
Red Section
Individuals identity
Individual = one person, identity = who a person is.
This means youre going to be dealing with a single characters identity and how they feel
about themselves.
They perceive
They = the individual, perceive = interpret, understand or regard.
This means youre going to be focusing on how the character understands, thinks or feels
about something.
Connections with others and the world
Connections = relationships or links, others = other people, the world = nature, the
environment, society, etc.
This means youre looking at how the character relates to or feels about the people, places
and society around them.
SUMMARY Red
By joining these explained meanings together, were able to create a rewritten question thats
much easier to understand;
Who a character is, as an individual, is shaped by the way they understand their links to
other people and nature, the environment and society.
Green Section
How is this view represented
How = in what way, view = the concept/idea above, represented = shown.
This means youll be writing about the ways in which the first section of the question (An
individuals identity) is shown through different literary techniques, scenes, etc.
Prescribed text and ONE related
This simply means you should be referring to both the text you were prescribed in class
and one text you studied yourself. Make sure to include quotes and specific references.
SUMMARY Green
Again, join all the explanations together for an easier to understand question;
In what way is the idea above shown in your prescribed text and your related text?
So what does it mean?
By looking at this in relation to the first section of the question we can then understand exactly
what is being asked. Dot point the key ideas or asks of each section and you have exactly what
you need to do!
What to Write
- Write about one specific character and who they are

- Write about how they feel about their links to people/places/society
- Write about how those feelings influence who the character is
- Write about specific scenes, techniques, etc. that show this
- Use quotes and examples from your prescribed and related texts
At the end youll have about five dot points which may seem like a lot, but really its just
breaking the question into smaller, easier to digest ideas!
Your turn!
Now you get to try breaking down a question! Using the example below, try to break down it into
sections, then simplify the terms and put it back together for an understandable question. Dot
point your What to write section and youre ready to go!
Creative Writing Questions
Creative writing tends not to be as major a panic point when it comes to understanding
questions, mainly because you get to be creative with it! Still, many people get confused about
exactly what creative questions may want from them. You pretty much use the exact same
breakdown method for creative questions as you do for analytical, so lets check out an
example!
If you need help with Creative Writing, Elizabeth has written the Creative Writing Crash Course
for you to get your Band 6!
Example
Start by reading the question full to get a feel for what is being asked.
Then go through and begin highlighting or outlining important terms. Make sure you also look
for key ideas in any stimulus sentences, like those in the box.

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Now were ready to start interpreting, again splitting the question into two sections to better
understand just whats being asked. Because its a creative question we can skip definitions
and instead focus on key ideas.
Red Section
Individuals
Your creative piece should be focused on developing character and a sense of who the
person is. Because of time restraints it would be best to focus on one, maximum two
characters.
Place in a community
The piece should look at a characters place in their community, be it a community of

friends, peers, co-workers, townspeople, society as a whole, etc. It should emphasise how
the character does find or has found their place there.
ONE of the sentences as the first sentence.
This is very important! Your creative response needs to start with one of these sentences,
but its more than just tacking it on the front. Make sure the sentence creates the tone of
the story and is somehow important to the narrative.
Summary Red
This section is essentially asking you to develop a creative piece that focuses on one or
two characters and how they found a place in some form of community. It also wants you
to use one of the stimulus sentences as your opening, so make sure you use it in a
significant way.

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Green Section
Sentence 1 solitude and lonely
These two words immediately tell you that your creative piece should deal with ideas of
solitude and loneliness. You can do this by having a character move from being alone to
being part of a group, or by finding that being alone doesnt mean they have to be lonely.
Make sure these themes are at the centre of your story.
Sentence 2 little world and reveal
This sentence looks at the ideas of someones own personal world (people and places
around them) and revelation/discovery. Your story could focus on a character discovering
how they belong in their own community, or thinking about when they realised the
people/places around them were their own little world.
Sentence 3 their and perfume of the town
The use of their means that youll probably have to include more than one character in
this story, while the rest of the sentence shows a focus on surroundings. The language is
also more descriptive, so your story should follow the show not tell rule and look at
people within a set environment.
Summary Green
You only have to choose one of the three sentences to begin your creative piece with, but
you have to choose wisely! The sentence will introduce the key theme/ideas you look at in
your response, and potentially the style (descriptive for the last sentence).
So what does it mean?
After breaking down what the question is asking and the different sentences you can use, its
time to answer it! Choose one of the sentences and begin dot pointing what you need to include
in your creative piece. For this example I chose the second sentence, My little world started to
reveal itself to me.
What to write
- Write about 1-2 characters and how they fit into a place/group/society
- Write about how the found/are finding where they fit
- Use one of the stimulus sentences as the first sentence
- Write about the characters own personal world (places, experiences)
- Write about how it is revealed to them through events, thoughts, etc.
These points are the key elements of the question and show you exactly what youre being
asked to do! This makes it way easier to write a kickass creative response!
What Weve Learned
Even though English questions are tricky and can take some time to understand, its easy to
break them down! By using both the analytical and creative breakdown methods you can turn
even the trickiest of questions into something manageable.
Just remember to always:
- Identify key words/phrases and define them

- Break it down into smaller sections
- Figure out what each part of the question is asking for
- Put it back together
- Dot point the key things you need to write/address
Do all this and youll be well on your way to an awesome English response plus, youll always
know that youve read your questions properly!
Your Turn!
Now try your hand at breaking down a creative question! Using the example provided break
down the question and the stimuli one by one. Then choose a stimulus and dot point your What
to write section!

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Cheatsheets
Visual Techniques
General Visual Techniques
Allusions
References to other images/visual media, including art, films, pop culture, religious icons,
etc. Sometimes in the form of a parody (referencing another image but making it
humorous), these usually re-contextualise or change the meaning of the original media.
Angles/Lines
The direction of an image based on the angles or lines within it. Horizontals create a
sense of calm, verticals create a sense of structure and diagonals a mood of unease or
being off-balance.
Body Language
Facial expressions, body language and gestures used to show characters attitudes,
moods or personality. Often focussed on overall body movement and positioning.
Close-up Shot
When the frame is mostly or entirely filled with a characters face, an important object,
etc. Used to create viewer focus and show that whatever is being shown is important.
Often used on characters faces in highly emotional images.
Colour (Hue/Tone)
Colours are symbolic of different emotions, moods, etc. and are used to evoke
corresponding responses in audiences. Purple is a colour of royalty, wealth and luxury
whereas red symbolises lust, passion, anger and so on. Also consider how saturated
colours are (are they bright and vivid or dull and desaturated?).
Composition
What an image is made up of where things are placed, how it is framed, the colour and
lighting used, etc. This generally refers to the image as a whole.
Contrast
Placing things that are considered opposite close to each other. Contrasts can be between
colours (black and white), sizes (large and small), textures (rough and smooth), etc. to
create interest and complexity. One small contrasting colour/size/shape in an image is
also usually highly salient because it stands out.
Framing
The camera shots and angles used in images/films to create different audience reactions
and emotions. E.g. close-up, extreme close-up, mid shots, aerial shots, etc.
Gaze
Where a character looks, which then directs viewers eyes. A demand gaze involves direct
eye contact between a character and the viewer, an offer has the character look at
something within the image, drawing the viewers eyes there too. Can also be used to
express emotion/intent.
High Angle Shot
A shot taken from slightly above something/someone, looking down on it/them. Creates a
sense of the character being weak, helpless, intimidated, etc. May also be used to
represent someone literally looking down at an object/scene (point of view).
Law of Thirds
By dividing an image into equal thirds along the horizontal, the vertical axis you can
break it into 9 equal sections which each have different connotations, Movement is
expected to from the left thirds to the right thirds, otherwise its read as moving
backwards (literally or figuratively). Characters in the top right third are seen as powerful
or in control, while those in the bottom left thirds are weaker or being controlled.
Lighting
How a shot is lit or not lit. This includes natural lighting (the sun, open windows, etc.) and
man-made lighting (lamps, torches, etc.) as well as feature lighting such as coloured
lights, spotlights, moving lights, etc. Lighting has a major impact on the mood and
atmosphere of an image (low light is seedy, harsh light is unnerving, soft light is intimate,
etc.).
Long/Wide Shot
A shot that is made up of a large landscape, cityscape or other kind of scene, Generally
these are used to get across lots of information at once, such as the layout of a room, the
location of an event, the number of people around, etc.
Low Angle Shot
A shot taken from slightly below someone/something, used to present them/it as being in
a position of power, dominance or control. It may also be used to have someone literally
look up at someone/something (point of view).

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Mid Shot
A shot that is approximately half-filled with a figure, object, etc. Usually these are regular
shots and are very common for character conversations/interactions or showing a select
area or object within an area (a desk, chair, etc.).
Point of View
How the shot is framed in reference to the viewer or a character. Does the shot take the
characters point of view (a shot of a character leaning out a window cutting to an aerial
shot looking down from a window) or is the audience placed level with, above or below the
characters/objects/action?
Positioning
Where have objects and characters been placed in the shot? What is in the foreground,
middle ground and background and why have they been placed there?
Salience
How much any section of an image draws the viewers eyes the most salient feature of
an image is whatever/wherever the viewers eyes are first drawn when they look at it.
Salience is always deliberate and usually created through contrast, colour, framing and
layout.
Symbolism
The use of one image/object to represent an idea or concept that is more complex than it
is. Religious symbolism, pop culture symbolism and animal symbolism are all very
common.
Text
Words used within images to convey a literal or figurative message. Consider the font,
colour, size, weight, etc. of the text, where and how often it has been used and the
connotations of the words actually used.
Vectors
The lines or paths viewers eyes follow when looking at an image, usually vectors are
deliberately created to lead the eyes to a focal point or important feature. Because we read
left to right we tend to follow vectors in the same direction across an image.
Film Techniques
Aerial Shot
A shot usually taken from a crane or helicopter to show a landscape, city, or many other
elements within a single moving shot. Usually these are used to establish settings, large
spaces/areas or a sense of scale.
Example: Saving Private Ryan (above, Steven Spielberg) uses an aerial shot of the war
cemetery filled with white crosses of the fallen to give a sense of scale of lives lost in
World War II. In putting one individual against the masses of crosses, they are quantified
into human lives.
Costuming
The clothes, makeup, hairstyles, accessories, etc. designed to be worn by characters to
represent their personality, status, heritage, culture, etc. Often characters clothes will fit
within one or two similar colour palettes or tones and use fabrics of similar textures.
Colour symbolism often comes into play here (a character wearing earthy colours may be
associated with gardening, plants and nature).
Example: High starched collars worn by Einar Wegener (later Lili Elbe) in The Danish Girl
(above, Tom Hooper) emphasise the rigidity of conforming to gender norms in the early
20th century in Europe.
Cut
The splicing of two shots together so that one seems to instantly move to the other. There
are many different types of cuts jump cuts are more jagged and create a sense of fast
pace or deliberately poor editing, match cuts involve cutting between two very visually
similar shots to create a more seamless flow.
Dialogue
The words spoken by characters. Regular literary techniques are used her (metaphor,
simile, personification, etc.) but also consider character vocal inflection, tone, pauses, etc.
as well as their vocal range (does the character have a deep voice? A high, feminine
voice?).
Diegetic Sound
The literal sound created by the objects and people within a shot sounds that the
character is presumed to be hearing as well. This includes; character dialogue, fabric
rustling, animals, background noise/voices, sounds made by objects (doors closing, rain),
etc.
Digital Effects
Any images, characters, setting and effects added digitally in post-production to add to or
alter the original shot. Remember that all digital effects are deliberate and have been
added for a reason to change the mood of a shot, change character gesture, etc.
Example: Lieutenant Dan in Forrest Gump (above, Robert Zemeckis) loses his legs in the
Vietnam War, which results in long years of suffering when he is discharged. By placing
Lieutenant Dan onto the ground, and editing his legs out of the shot, the audience is
drawn into the reality of Lieutenant Dans pain.
Establishing Shot
The shot at the beginning of a film or scene that gives the basic or introductory
information to viewers. Generally includes or introduces the location, characters, etc.
Example: The establishing shot of Sherlock (above, BBC, Steven Moffat and Mark Gatiss),
depicts an aerial view of Londons most famous sites; the London Eye, the Tower of
London, Parliament, Big Ben. This allows us to immediately assume the location of the
series: London.
Fade In/Out
A transition device whereby a shots fades into or out of black (or another image) at the
end or beginning of the shot respectively. These are generally used to create a sense of
slow movement, intimacy or trailing off in a shot/scene.
Montage
The cutting together or several shots that show small pieces of a larger scene or idea to
create an overall sense of time passing/something occurring. Most commonly used in
training sequences where a character must become skilled in a task over time, so many
shots of them completing different training exercises are cut together to create a sense of
them improving over time.
Non-diegetic Sound
The non-literal sound that has been added into a shot that the characters cannot hear.
This includes; narration/voice-over, added sound effects, music (that isnt shown to be
produced from an onscreen source such as a tv, dance party, etc.) and the film score/
soundtrack.

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Props
Items and objects used within a shot to create a sense of setting, represent character
interests, symbolise something else or be interacted with. Generally the most important
props are those used or seen as important by characters, as well as recurring props that
feature in several different scenes/shots throughout the film.
Example: The Heart Shaped Necklace in The Man in the High Castle (above, Amazon Studios,
Frank Spotnitz) was designed by Frank Frink and given to his girlfriend, Juliana Crane.
Julianas leaving of the necklace in their home when she ventures off into the Neutral
Zone to deliver a newsreel represents the fracturing of their relationship, and her
departure from the Japanese Pacific States and her world under Imperial Japanese rule
into a potential new life.
Voice-over
Audio narration laid over the top of a shots regular soundtrack. Generally voiceover is
used to give audiences extra information, additional commentary or characters specific
views/comments on the scene.
Disclaimer: Film images used in this Cheatsheet are copyright to their rightful owners.
Literary Techniques
Allegory
A story or narrative with two meanings; the obvious or literal meaning that is immediately
clear, and a second, usually hidden meaning. The second meaning often acts as a
commentary on real world events or issues or relates to a specific topic/theme being
dealt with.
Example: Many people claim Lord of the Rings is an allegory for the World War I because it
portrays war (and especially industrialisation for war production) negatively.
Alliteration
Repetition of consonants at the beginning of successive words or within sentences/

phrases to create a sense of rhythm, though they can be overdone (as in tongue twisters).
Also common in poetry.
Example: Peter piper picked a peck of pickled peppers.
Allusion
A subtle or passing reference to an event, person, place, other text, etc. that is intended to
be noticed by readers (though isnt always picked up on). Religious allusions are some of
the easiest to spot, especially Christian religious allusions due to the oversaturation of
Christian imagery in texts and media.
Example: Remus Lupin in Harry Potter is named for Remus of Remus and Romulus, twins
in Greek mythology who were raised by a wolf. This is a mythological allusion that ties into
his being a werewolf.
Ambiguity
When something is left to the readers imagination. Often this involves the author not
stating explicitly what is happening, what has been said, etc. This boosts reader interest
as they are encouraged to make up their own mind about what is happening, or they
become suspicious of what they have not been explicitly told. Common in poetry.
Example: The ending of Inception (Christopher Nolan) is incredibly ambiguous. In the film
audiences are shown that the main characters spinning top will continue to spin if hes
in a dream and topple if hes in reality however the final shot cuts just as the spinner
begins to wobble, leaving audiences to wonder if hes in reality or still dreaming.
Analogy
Uses two similar concepts or ideas to create a relationship or draw comparisons between
the two. Can also be used to contrast two ideas, however its most commonly used to
prove how something is similar or use one idea to explain another. Often features the
phrase is to, though not always.
Example: A sword is to a warrior as a pen is to a writer.
Antithesis
Using two sentences with contradictory or contrasting meanings close to one another,
sometimes even in immediate succession. This creates strong contrast, however the two
sentences are usually designed to balance each other out through opposite connotations
and then represent a whole idea. Antitheses often show how a character or idea may be
contradictory but still whole.
ExExampleample: It was the best of times, it was the worst of times. (Charles Dickens, A
Tale of Two Cities).
Archetype
An archetype is an immediately recognisable character, concept or object that makes it

easy for audiences to categorise them based on what they resemble in literature.
Character archetypes are most common, with popular ones including: the femme fatale,
the average joe, the class clown, the anti-hero, the bad boy, etc. Most characters fit into at
least one archetype.
Example: Hagrid (Harry Potter) and Hodor (Game of Thrones) fit the gentle giant archetype,
while Batman is the ultimate lone vigilante archetype.
Assonance
Similar to alliteration, however in this case it is vowel sounds that are repeated. This may
be at the beginning of words/phrases, or within the words themselves. Very common in
poetry.
Example: A long song. has a repeated long o sound in the last two words that creates
assonance, however the name Rita Skeeter from Harry Potter also features assonance,
as the i and ee create the same sound.
Atmosphere
Atmosphere and mood are often used interchangeably, as they are similar but used in
different ways and have different results. Atmosphere refers to the feeling or mood
created by a place, situation or text it usually changes from scene to scene and is built
by sensory imagery and word choices. This is what makes dark, stormy nights in novels
feel eerie and foreboding.
Example: The floorboards creaked in time with the wind whistling around the houses
jagged edges, and waves crashed angrily against the rocky cliffs below. She clutched her
coat tighter around her and stepped into the flickering light of the fire.
Characterisation
The process by which characters are introduced, described and then fully formed through
their choices, interactions, etc. Characterisation is what makes characters feel like real
people, and is often based in their morals, values and personality traits. If a character has
strong characterisation it is easy to imagine how they would react in any given situation.
It also makes it harder to believe situations where characters do things that go against
their usual traits, creating audience suspicion or disbelief.
Example: Katniss Everdeen (The Hunger Games) is characterised as being independent,

resourceful, focused on survival and having poor social skills. These traits determine how
she interacts with people and makes choices, as seen in her initially being vocal in her
hatred for the Capitol, but then doing as the Capitol tells her if it means protecting her
family and surviving.
Clich
A common and/or overused expression, often found in similes and metaphors. While they
can sometimes be used ironically or to symbolise a character themselves being
unoriginal, clichs are often a sign of lazy or unimaginative writing. Clichs should only be
used if theres a reason for them.
Example: He ran like the wind.
Connotations
The ideas, feelings or concepts associated with specific words, phrases or situations that
go beyond their literal meaning. Word choices are often made with the connotations of
each word in mind to create a particular atmosphere or tone. In some instances an
interaction or situation may have underlying connotations as well.
Example: Beautiful and cute, while both describing how something is visually
appealing, have different connotations. Beautiful creates a sense of grace, elegance and
maturity, while cute is more associated with youth, pettiness and the colour pink.
Contrast
Any situation wherein two different or opposing things are presented together in order to
highlight their differences. This can occur with ideas, settings, characters, objects,
concepts, themes, etc. and often serve to make the audience more aware of the individual
parts of the two things that make them different.
Example: Timon and Pumbaa (The Lion King) are visually contrasting, with Timon being
small, angular and lightly coloured, while Pumbaa is large, rounded and a darker colour.
This emphasises their differences and the unlikeliness of their friendship.
Context
The time, place and social setting within which a text was created, including the values of
the time, the world events, major topics of discussion, key figures, etc. There are three
kinds of context; literary (what was happening in the literary world at the time), historical
(what year it was and what major world events were occurring) and personal (who the
author was, their experiences and values). These all influence the text, leading to the text
often reflecting the authors own ideas and values as based on their context.
Example: Frankenstein by Mary Shelley explores the idea of science being used to create
life, reflecting Shelleys own interest in science and the actual reanimation experiments
of the time period.
Dramatic Irony
Any situation wherein the audience is privy to some sort of information that the
characters do not know, building audience tension, suspense, etc. This is usually achieved
by cutting away from the main character to see what another character is doing/
planning, then returning to the uninformed character and watching the results play out,
all the while knowing what the second character has done/planned.
Example: Romeo and Juliet uses dramatic irony to create audience tension and emotional
reactions when Romeo believes Juliet to be dead and kills himself, as audiences know
shes actually alive and will wake up any moment.
Emotive Language
Words chosen to create a specific emotional response in the reader, often linked to the
words connotations and commonly used in highly emotional or descriptive scenes/
situations. Emotive language can become awkward when used too much in character
dialogue, as it doesnt sound like something a person would realistically say. Very
common in poetry.
Example: [...] which is what you didnt do, because youre weak and hollow and it doesnt
matter anymore. (Richard Siken, Crush)
Euphemism
A mild or proper expression used to replace one that is harsh, blunt or otherwise
offensive in order to not cause trouble or appear vulgar. Euphemisms are commonly used
to more politely refer to topics of an unsanitary, sexual or improper nature.
Example: I have to see a man about a dog. is often said euphemistically when leaving a
room or conversation to go to the toilet.
Exclamation
A sentence ending with an exclamation mark (!) or said with a tone of shock/excitement
is used to express high emotion e.g. sudden revelations, important discoveries or
enthusiasm. This is often used to better express the tone of dialogue or show emotional
outbursts.
Example: I cant believe you! may be said when someone has done something shocking
or betrayed a character in some way and elicited a strong emotional response.
Frame Narrative
This is essentially a story within a story, wherein the main narrative is being told,
remembered, etc. by someone in the outside narrative. This is much easier to see and
understand in films, though it is also very popular in written texts and novels especially
those that jump between time settings from chapter to chapter.
Example: Titanic (James Cameron) is a frame narrative, as the story is being told by Old
Rose and cuts back to her several times throughout the film. Forrest Gump (Robert
Zemeckis) is another well-known frame narrative film.
Foil
A foil is another character in a story that specifically contrasts the main character in
order to emphasise the main characters attributes and values or compare the values of
the two characters. Oftentimes a characters foil will have vastly differing ideas on the
same topics, share some kind of similar background or experience, deal with the same
situations in different ways, etc. Usually there are some similarities shared between the
two characters, or a sense that character A is what character B could have been.
Example: Draco Malfoy is a foil to Harry Potter, as he represents the opposites of Harrys
values and experiences, though the two are tied together by their positions on opposite
sides of the battle against Voldemort.
Foreshadowing
The act of hinting at or setting up a situation, event or action that will later be extremely
important in the narrative but doesnt seem important at the time. Audiences are usually
made to notice a particular object/comment/situation/etc. as being of some level of
importance, but not realise how important it will be until later in the narrative. However
some authors include foreshadowing that the audience arent meant to pick up on until
after the big reveal has occurred.
Example [Spoilers]: Fight Club (David Fincher) features several single-frame images of
Tyler Durden spliced into the film before we ever meet his character, foreshadowing his
introduction and the fact that he is actually the manifestation of the Narrators Multiple
Personality Disorder.
Form
The construction and structure of a text based on the text type, the context and the
authors personal stylistic choices. This can include language choices, sentence
structures, film choices, poetic styles (limerick, free verse, etc.) and is often influences by
the context and literary styles of the time it was written.
Example: Lord of the Rings (J. R. R. Tolkien) and Game of Thrones (George R. R. Martin) are both
epic novels with similar genre, subject matter and concept, however their forms are
incredibly different due to the time in which they were written and the authors stylistic
choices.
Figurative Language
Language, words and/or expressions that have meaning beyond their literal
interpretation, often used to express links between ideas, characters and concepts or
subtly tie into overall themes. Figurative language includes metaphors, similes,
hyperbole, metonymy, personification, etc. and are also frequently used to describe
characters and things. Common in poetry.
Example: A handsome manor house grew out of the darkness at the end of the straight
drive. (J. K. Rowling, Harry Potter and the Deathly Hallows)
Sound Devices
Any techniques that focus on the sounds produced by words and/or how they relate to
one another. Incredibly common in poetry.
Example: onomatopoeia, resonance, rhythm, rhyme, etc.
Fractured Sentences
Incomplete or broken off sentences used most commonly in dialogue to replicate regular
speech patterns and being cut off or trailing off while speaking. Also used outside of
dialogue to build suspense, tension or a sense of urgency. Very common in poetry.
Example: Wait, what are you- he began, but she cut him off. I know what Im doing.
Hyperbole
The purposeful over-exaggeration of a statement in order to create a more intense or over-

the- top effect. Hyperbole can be paired with similes or metaphors and are most
commonly used in highly emotive situations or dialogue to create an even greater
emotional reaction. Can also be humorous if used in mundane settings.
Example: Im so exhausted I couldnt move if I tried. is hyperbole in itself, but if said by a

character who has done nothing to warrant being tired it can also add a level or humour.
Icons
An object, image or person that symbolises something larger, usually a complex concept
or theme. This is most often seen in hero characters, as they are intended to symbolise
certain ideas and values.

Example: Katniss Everdeen (The Hunger Games) is an icon to the audience of strength,
survival and perseverance, but is also an icon within the world of the novel as The
Mockingjay, a symbol of revolution and rebellion.
Imagery
Words used to create an idea or mental image of something, most often found in
descriptions or created through descriptive language. Imagery is generally focused on
settings, objects and characters to ensure audiences have a very clear idea of what is
happening and how it all looks. Common in poetry.
Example: It was in appearance a tall spacious tree of graceful form, with thin unwrinkled
bark over white wood. (J. R. R. Tolkien, Lord of the Rings)
Intertextuality
This occurs when one text makes reference to another text, either obviously or in a more
subtle way (e.g. allusions) in order to make a point or draw links between the two.
Example: Frankenstein (Mary Shelley) makes subtle intertextual references throughout the
text to the Greek myth of Promethus in order to better express her warning against
playing God.
Irony
A disconnect between what is said and what is meant, usually with the words said having
a second insulting, humorous or satirical meaning. Nothing like the Alanis Morissette
song.
Example: Well arent I lucky!, when said by an unlucky character or one who has just
suffered due to bad luck, is ironic.
Juxtaposition
Placing one character, idea, theme, object, setting, etc. parallel to another in order to
compare and contrast the two. This is often done to encourage audiences to think about
two things in relation to each other and draw conclusions about how they are similar and/
or different, especially in regards to characters.
Example: Katniss and Peeta (The Hunger Games) are brought together in a constant
juxtaposition to highlight their own personal strengths and weaknesses and ultimately
show how the two character balance each other.
Language choices
This includes individual word choices based on connotations, as well as specific overall
language choices used to characterise certain characters and develop a stronger sense of
voice. Having a character use slang or colloquial language creates a different effect that a
character who always uses formal language, allowing authors to separate and
characterise through these language choices.
Example: Oi mate, who was it? versus Pardon me, who was at the door?. Though both
sentences express the same idea, language choice give them different feelings and
connotations they would not be said by the same character.
Linear and Non-Linear
This describes the way in which a narrative flows or is told. A linear narrative moves
forward in time, directly from point A to point B with events occurring in chronological
order. A non-linear narrative may jump from different times, characters, etc. with events
occurring out of chronological order.
Example: Memento (Christopher Nolan) and 500 Days of Summer (Marc Webb) are both non-
linear films.
Metaphor
Comparing two things by saying that one is the other in order to draw stronger
comparisons and often add a level of figurative meaning. There are many clich
metaphors, but when done well metaphors can be extremely strong figurative techniques.
Extended metaphors are reoccurring metaphors or ideas that show up multiple times in a
text (e.g. a woman being referred to as different flowers throughout a text). Very common
in poetry.
Example: He was a crumbling ruin of a man; once great, then left to erode into dust.
Metonymy
The act of referring to something not by its actual name but by a figurative name or the
name of something associated with it. Many everyday phrases are examples of
metonymy.
Example: Lend me your ears! (Julius Caesar) in which ears is used in place of attention,
employing metonymy. Silver fox is everyday metonymy for an attractive older man.
Modality
The strength or force of a word, which low modality words being passive while high
modality words are forceful. Characters giving speeches or rallying crowds would use high
modality words, as they raise the intensity and strength of the language and scene.
Example: You might want to do this. versus You must do it. Might is low modality,
must is high modality.
Mood or Tone
Mood is similar to atmosphere, however it focuses more on the emotional or mental

feeling the author has towards certain subjects or ideas and how they express that in the
text. Mood can be felt in a similar way to atmosphere through word connotations,
figurative language, etc. Very common in poetry.
Example: The enemy? His sense of duty was no less that yours, I deem. You wonder what
his name was, where he came from. And if he was really evil at heart. [...] War will make
corpses of us all. (J. R. R. Tolkien, Lord of the Rings) This dialogue expresses a mood of
distaste for war and that it only leads to death, reflecting Tolkiens own views.
Motifs
A motif is an idea, symbol, object, concept or theme that is always present throughout an
entire text, playing a significant and/or symbolic role in the narrative. Generally motifs tie
into the central ideas of the narrative or reflect a certain message the author is trying to
present. Common in poetry.
Example: Blade Runner (Ridley Scott) features an ongoing eye motif, with several close ups
of different characters eyes used to draw comparisons between how the motif relates to
each character.
Omission
What is left out of a text missing scenes, fade to blacks, conversations only mentioned
in passing, etc. Omissions lend largely to ambiguity and often leave it up to the audience
to fill in the blank of what may have happened with their own imagination. Sometimes a
specific scenario can be implied.
Example: At the end of one scene character A and character B are fighting, however in the
next scene they seem to be acting civilly to each other. Because audiences arent shown
why the characters attitudes changed, they are left to try to figure it out for themselves.
Onomatopoeia
A word that it the sound of what it represents, allowing the reader to hear what is
occurring. The words themselves are meant to represent the actual sound made, thus can
often become made up words.
Example: Bang, crash, bam, screech, eek, oof, etc.
Oxymoron
Two contradictory words or concepts used together to create a strange or complex thing/
idea that still makes sense. Oxymorons tend to add an extra level of meaning to the
concepts discussed and are often used as descriptors. Common in poetry.
Example: Eyes burning cold. uses oxymoron in the last two words in to contradict itself
and create an extra layer of figurative meaning.
Parallels
This involves setting up two characters, situations, settings or ideas to be parallel to one
another, reflecting each other but having different outcomes. Often the stories of a hero
and a villain will be parallels, with the villain making the wrong choices and the hero the
right ones. Parallel situations are similar, with a similar setup or scenario having a
different outcome to another based on characters and choices.
Example: Boromir and Aragorn (Lord of the Rings) face parallel situations when they are
each tempted to take the ring from Frodo. While Boromir succumbs to temptation and
tries to steal the ring, Aragorn resists and tells Frodo to go on alone, showing how
Aragorns choice makes him the stronger person.
Pathetic Fallacy
This involves giving any non-human object or nature some kind of human feelings or
senses. Its a more specific from of personification. Very common in poetry.
Example: The willow leaves brushed forlornly at his face, the old tree trying to comfort
him.
Person or Narrative Perspective
First, second or third person narratives are usually categorised by their use of I, you, or
they respectively. First person refers to themselves, second person to the audience and
third person to everybody. First person narration is seen as more personal, while third
person is favoured for omniscient narration, while second person is very uncommon.
Example: First person = I broke the lamp., second person = You broke the lamp., third
person = She broke the lamp.
Personification
The attributing of human characteristics to non-human objects, by which inanimate

objects appear to have life and/or feelings. This is often used in figurative descriptive
language and is common in poetry.
Example: The tree branches thrashed against the window, their spindly, arthritic fingers
creaking in the wind.
Rhetorical question
A question that is asked without the intent of receiving an answer because the answer
itself is obvious. Generally these are used to force audiences to come to the correct
answer on their own, though sometimes they may be used to prompt audiences to think
harder about a specific idea.
Example: A group of warriors asking Who will lead us? when the narrative has already
made it obvious that the hero will lead the quest.
Setting
The location of a narrative which may and often does change several times within the
story. Settings can also often be tied to the narrative, rather than just being where things
happen, and some settings are linked to certain genres.
Example: Abandoned castles and stormy moors are classic Gothic settings, while teen
dramas are typically set in high schools and suburban towns.
Sibilance
A specific from of alliteration involving the repetition of s within a phrase or sentence.

Depending on word connotations it can be read as soft and flowing or cold and hissing.
Most of the fictional language of Parseltongue (Harry Potter) is based on sibilant sounds.
Example: Susie sells seashells by the seashore.
Simile
Comparing two objects, and object and a person, etc. using like or as to draw parallels
between them. Many similes have become clich a good simile shouldnt be
immediately obvious as a simile.
Example: He was cold as ice. is clich, He was a cold, prickly man, like the first bite of
early morning winter against your cheeks. is not.
Symbolism
When an object, person, etc. represents a more complex idea, concept or theme. Similar to
icons, however symbolism doesnt always represent something larger or more important
than the literal object, and can also represent relationships, interactions, etc.
Example: Characters shaking hands is symbolic of agreement or making a pact, but

could also be symbolic of reconciling depending on the situation.
Syntax (sentence structure)
The way a sentence is constructed short, long, fragmented, compound, complex, etc.
Different sentence structures have different effects, with short and one-word sentences
creating impact and urgency, while compound sentences are slower and usually found in
more formal writing.
Example: District 12 only has three existing victors to choose from. Two male. One female.
I am going back to the arena. (Suzanne Collins, The Hunger Games) This features a longer
sentence to give context then three successive shorter sentences to create impact and
tension.
Theme
The overall message or moral of a narrative which is intended to cause audiences to think
on real-life issues or moral questions. Generally these are what defines the story and is a
reoccurring feature throughout the text. There can be more than one theme.
Example: The themes of Harry Potter include love conquers all, good vs evil, death and the
question of eternal life.

HSC Practice Questions
Area of Study: Discovery
Question 1
Not all discoveries are made for the first time.
Explore the truth of this statement in relation to the texts, you have studied.
In your response, refer to your prescribed text and at least ONE other related text of your
own choosing.
Question 2
Most discoveries encompass rediscovering something that has been lost, forgotten or concealed.
To what extent do you agree with this statement from your study?
In your response, refer to your prescribed text and TWO other related texts of your own
choosing.
Question 3
Discovery is a product of curiosity and careful planning.
To what extent do you agree with this statement from your study?
own choosing.
Question 4
Deliberate planning is essential for a discovery. Is this your view?
Write a persuasive response referring to representations of physical journeys in your

texts.
In your response, refer to your prescribed text and TWO other related texts of your own
choosing.
Question 5
You have been invited to speak at the book launch of a new collection entitled Exploring
Discovery.
In your speech, explain and assess the ways in which discovery is represented in the texts
included in this collection.
In your answer, you should refer to your prescribed text, and at least ONE other related
text of your own choosing.
Question 6
Texts represent discoveries as being sudden and unexpected.
To what extent do the texts you have studied support this idea?
In your response, refer to your prescribed text, and at least ONE other related text of your
own choosing.
Question 7
Planning rather than curiosity, necessity or wonder leads to discoveries
Demonstrate how your prescribed text and ONE other related text of your own choosing
represent this interpretation of discovery.
Question 8
Texts may show us that the discoveries can be fresh and intensely meaningful.
To what extent do the texts you have studied support this idea?
In your response, refer to your prescribed text, and at least ONE other related text of your
own choosing.
Question 9
How has your understanding of the emotional, intellectual and physical discoveries been
shaped by the techniques used by various composers?
In your answer, you should refer to your prescribed text, and TWO related texts of your own
choosing.
Question 10
Discoveries confront and provoke the individual leading to change in self.
Discuss this statement, focusing on how composers of texts represent the concept of
discovery.
In your answer, refer to your prescribed text, and at least ONE other related text of your
own choosing.
Question 11
Explore how discoveries can cause the individual to have a new fresh and meaningful
outlook on life.
own choosing.
Question 12
An individuals discovery shapes the way they understand themselves and the world
around them.
How is this view represented in your prescribed text, and ONE other related text of your
own choosing?
Question 13
More than anything else, discoveries lead to new worlds, values and ideas.
Do you agree? Argue your point of view.
own choosing.
Question 14
Only through discovery can an individual speculate about the future.
Discuss this statement, focusing on how composers of texts represent the concept of
discovery.
own choosing.
Question 15
An individuals interaction with others and the world around them can impact on their experience
of discovery .
Discuss this view with detailed reference to your prescribed text and ONE other related
text of your own choosing.
Question 16
Explore how an individuals discovery and process of discovery can be influenced by their
personal values.
own choosing.
Question 17
An individuals context influences the discoveries they make and ways they make discoveries
Demonstrate how your prescribed text and ONE other related text of your own choosing
represent this interpretation of discovery.

! 2
Question 18
The worth of an individuals discovery evolves in response to the passage of time and
interaction with their world.
In what ways is this view of belonging represented in your prescribed text and at least
ONE other related text of your own choosing?
Question 19
An individuals discovery is questioned and challenged not only by the individuals

attitude but also by the attitude of others.
How accurately does this statement reflect the ideas represented in your prescribed text
and ONE other related text of your own choosing?
Question 20
To what extent has studying the concept of discovery expanded your understanding of
yourself, of individuals, and of the world?
own choosing.
Module A
General Questions
Question 1
Text with similar content will inevitably reveal similar messages. Discuss this statement
with reference to your two prescribed texts
Question 2
Context shape the perspectives of a text. Explore how this has influenced the two texts
youve studied and the similarities and differences that resulted.
Question 3
Values presented in texts are always shaped by the texts context. How true is this
statement of the two texts you studied?
Question 4
A texts form is central to the message it conveys and the values it presents. Discuss this
statement with detailed reference to the two prescribed texts.
Question 5
Comparative study leads to appreciation for the impact of context on a texts values. To
what extent is this true of your study of the two prescribed texts?
Question 6
The influences of context are revealed when texts are studied comparatively. Analyse how
your comparative study of the two prescribed texts has lead you to a greater
understanding of their contexts.
Question 7
The purpose of any text is to convey values appropriate to its context. Consider this
statements accuracy in reference to the two texts you studied.
Question 8
Do the two prescribed texts studied present the same underlying meanings, or provide
new ideas about similar concepts?
Intertextual Perspectives
Question 9
A texts perspectives are shaped by and created for the context in which theyre written.
How true is this of the two prescribed texts?
Question 10
Similar content does not necessarily ensure similar meaning. Discuss how relevant this
statement is to the two prescribed texts.
Question 11
How have the contexts of the two prescribed texts influenced the attitudes conveyed in
each?
Question 12
Discuss how the treatment of similar content in different contexts can lead to a change in
meaning. Make reference to two prescribed texts.
Question 13
In what way does comparative study heighten our understanding of the different
perspectives offered by similar texts? Provide detailed reference to the two prescribed
texts.
Question 14
Context, purpose and audience are all central to developing a texts meaning. Discuss how
this influences the two prescribed texts studied.

! 5
Intertextual Connections
Question 15
Connections between texts can only be fully understood through comparative study. How
true is this of your study of the two prescribed texts?
Question 16
How can similar texts from different times challenge or reinforce the values of their
individual contexts despite similar content? Analyse with reference to the two prescribed
texts.
Question 17
Does similar content lead to similar or dissimilar ideas about the ideas explored in a
text? Discuss this statement in reference to the two prescribed texts.
Question 18
Different contexts ensure differences in content, but not necessarily in meaning. How
accurate is this statement when applied to the two prescribed texts?
Question 19
To what extent is our understanding of intertextual connections deepened through

comparative study? Make clear references to the two prescribed texts.
Question 20
Though texts are products of their time, their values remain relevant in new contexts. How
can this statement be used to describe the two prescribed texts?
! 7
! 8

How To Get A Band 6 English-2

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Copyright 2016 Art of Smart Education All rights reserved. Page !

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We teach you the syllabus for your specific subject as well as

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How to Read the Syllabus

Thats where we deconstruct it!

Represented in and through texts.

The Syllabus is very clear about what it expects from you:

Copyright 2016 Art of Smart Education All rights reserved. Page 6

In literary theory, representation is:

- To look like or resemble;

To look like or resemble:

To stand in for something or someone:

To present a second time; to re-present:

3. Rewrite the syllabus in your own words.

Copyright 2016 Art of Smart Education All rights reserved. Page 7!

The organic dictionary definition of discovery is:

So basically, you are exploring the act of finding, or searching.

1. What is the definition of Discovery?

2. How can you experience a Discovery?

3. How can you react to a Discovery?

4. What can making a Discovery do for you?

5. How can we relate to Discovery?

An individuals discoveries and their process of discovering can vary according to

6. Who or what does Discovery affect?

Discovering something for the first time.

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Discovering can also mean rediscovering something lost, forgotten or concealed.

Natasha Romanoff: And theres Starks father.

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Discoveries can be sudden and unexpected.

Steve Rogers: Bucky?

When we make a discovery, we can process it logically academically. (The Martian,

Stephen: Motor neurone disease. Lou Gehrigs Disease. He was a baseball

STEPHEN watches everybody talking, eating, drinking, being wonderfully, effortlessly

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An individuals discoveries and their process of discovering can vary according to

Jane: Sowhat do cosmologists worship then?

Stephens transformation of science from purely understood by theoretical physicists and

John Taylor: Im afraidthis is complete nonsense. Its preposterous.

Bucky Barnes: Youre my mission!

Use the TECHNIQUE EVIDENCE EFFECT Method for Your Texts

Why is the TEE Table a good idea?

Because the Syllabus requires you to do the following:

What is Section One?

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Things you can pick up on in a first read include;

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Figurative language/metaphor implies the narrator is fully immersed in their own

Step 6: Put It Into Practice!

Heres a text and a question, now give it a go!

1. Dont pick something popular

What is a Related Text?

A theme is defined as:

An idea that recurs in or pervades a piece of art or literature.

- Moral of the story

Method 1: Moral of the Story

- that discovery can lead to survival; and

Method 2: One Word Descriptions

Well use Life of Pi as an example again.