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Sentence Starters To Broaden Your Vocabulary in Analysing Argument

June 8, 2022

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Writing an Analysing Argument (or Language Analysis) essay can be difficult, and sometimes selecting language that won’t sound repetitive is the tricky part. If you’re looking for ways to overcome that hurdle and make your writing sound more formal, then this is the blog for you. 

In these tables are simple sentence starters you can use to formalise and clarify your ideas in a non-repetitive way. This blog takes into account the most important elements of a Language Analysis, such as analysing visuals and connecting a technique back to the author’s intention (that is, what they want the audience to think/feel/do). 

Within these tables, I’ve included a sentence example for each phrase. The examples are in response to a fictional article by Samantha Pearson, What’s wrong with using online lingo in everyday life?. The article is about Gen Z's use of online lingo and argues that the concern surrounding its potential implications is unfounded. If you’d like to see the entire original article and an A+ essay written in response (along with a number of other sample articles and high-scoring essays), you’ll find all of this and more in How To Write A Killer Language Analysis .

If you’d like to see a detailed guide on Language Analysis, including what you're expected to cover, how to prepare for your SAC and Exam and more, check out our Ultimate Guide to VCE Language Analysis .

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Access a FREE sample of our How To Write A Killer Language Analysis study guide

• Learn LSG's unique SIMPLICITY and SPECIFICITY strategy which has helped hundreds of students achieve A+
• Includes annotated sample A+ essays (including responses to past VCAA exams)
• Learn how to analyse single articles and visuals , and comparative analysis (analysing 2 or 3 articles/visuals together)
• Different types of essay structures broken down so you understand what to do and what not to do with confidence

Last updated 20/10/19

Planning is an essential part of any successful text response essay. It helps you ensure that you’re answering the prompt, utilising enough quotes and writing the most unique and perceptive analysis possible! The hard part of this is that you only have about FIVE MINUTES to plan each essay in the Year 12 English exam… (more info on the best way to tackle that challenge in this video !)

So, I developed the FIVE TYPES of essay prompts to help students streamline their planning process and maximise every minute of their SACs and exams.

By identifying the type of prompt you’re being challenged with immediately, a number of parameters or guidelines are already set in place. For a specific type of prompt, you have specific criteria to meet – for example, in a metalanguage-based prompt , you immediately know that any evidence you brainstorm in your planning stage should be based around the literary techniques used in your given text.

If you’d like the full picture on our best FREE advice on Text Response, check out our Ultimate Guide to VCE Text Response here .

1. Theme-Based Prompt

‘Ambition in the play Macbeth leads to success.’ Discuss. ( Macbeth )

When you’re presented with a theme-based prompt, you can automatically shift your brainstorming and planning towards the themes mentioned in the prompt along with any others that you can link to the core theme in some way.

In regard to this Macbeth prompt, for example, you could explore the different ways the theme of ambition is presented in the text. Additionally, the themes of guilt and power are intimately related to ambition in the text, so you can use those other ideas to aid your brainstorming and get you a step ahead of the rest of the state come exam day.

2. Character-Based Prompt

‘Frankenstein’s hubris is what punishes him.’ Discuss. ( Frankenstein )

These prompts are pretty easy to spot – if you see a character’s name in the prompt, there you have it; you have a character-based prompt on your hands.

Once you know this, you can assume that each example you brainstorm has to be relevant to the specific character named in the prompt in some way. Also, you can explore how the actions of characters don’t occur in isolation – they’re almost always interrelated. Remember, however, that the actions of characters are always connected to the themes and ideas the author is trying to convey.

This type of prompt also grants you some freedoms that other types don’t give. For example, unlike a Theme-based prompt, a character-based prompt means that it’s perfectly fine to write about characters in the topic sentences of your body paragraphs.

3. How-Based Prompt

‘How does Grenville showcase Rooke’s inner conflict in The Lieutenant ?’ ( The Lieutenant )

Unlike other prompts, the ‘How’ positions you to focus more on the author’s writing intentions. This can be achieved by discussing metalanguage – language that describes language (read my blog post about it here ). These prompts tell you immediately that you need to be thinking about the literary techniques explored in the text and explain how they affect the narrative.

Rather than using specific techniques to frame your specific arguments, it’s best to use them as evidence to support arguments that attack the main themes/ideas mentioned in the prompt.

4. Metalanguage or Film-Technique-Based Prompt

‘Hitchcock’s use of film techniques offers an unnerving viewing experience’. Discuss. ( Rear Window )

This type of prompt is very similar to How-based prompts, specifically in the fact that the discussion of literary techniques is essential.

For this type of prompt specifically, however, the actual techniques used can form more of a basis for your arguments, unlike in How-based prompts .

5. Quote-Based Prompt

“Out, damned spot!” How does Shakespeare explore the burden of a guilty conscience in Macbeth ? ( Macbeth )

Countless students ask me every year, “What do I do when there’s a quote in the prompt?!” My reply to these questions is actually fairly straightforward!

There are two main things that you should do when presented with this type of prompt. Firstly, contextualise the quote in your essay and try to use it in your analysis in some way. Secondly, interpret the themes and issues addressed in the quote and implement these into your discussion. The best place to do both of these is in a body paragraph – it weaves in seamlessly and allows for a good amount of analysis, among other reasons!

When faced with unknown prompts in a SAC or your exam, it's reassuring to have a formulaic breakdown of the prompt so that your brain immediately starts categorising the prompt - which of the 5 types of prompts does this one in front of me fall into? To learn more about brainstorming, planning, essay structures for Text Response, read our Ultimate Guide to VCE Text Response .

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

EAL Language Analysis Introductions

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

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

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

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

Using Templates in Your EAL Language Analysis Introductions

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

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

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

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

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

Example 1 (Using Templates 1 & 3)

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

Example 2 (Using Templates 1 & 3)

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

Example 3 (Using Templates 1 & 3)

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

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

Comparison of Arguments & Contentions in EAL Language Analysis

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

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

Understanding  how   the author  intends  to persuade their readers.  

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

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

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

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

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

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

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

The  TEE  rule

—Technique  – what  persuasive technique  is used?

—Example  – which  text  that shows it?

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

1. Technique 

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

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

3.  Effect 

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

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

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

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

T echnique: Compliment

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

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

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

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

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

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

—T echnique: Appeal to sympathy

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

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

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

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

English is tough. Whether it be memorising quotes or writing under timed conditions, everybody has something that they need to work on — some missing link that may make the difference between grades.

The fun yet exasperating part of English is that there’s always some way to improve. Even the best of the best can struggle with differentiating themselves from the pack, irrespective of how many quotes they know or how well they understand the subject matter. Often, students can feel shackled by the formulaic “topic sentence plus explanation plus evidence plus analysis plus concluding statement”, leaving great ideas in the mud as they scramble to fit their essay into restrictive boxes.

Sometimes, the conventional structure of an English essay can weigh a student down, which is why bending those rules is a skill that, eventually, can prove the key to truly going above and beyond .

Walk before you run

Before you move past your structure, though, you’ve got to know it.

Every essay paragraph needs to hit on a few key points: a main argument, evidence, and analysis of that evidence relating back to the prompt. For example…

In Station Eleven, forgetting is more important than remembering. Do you agree?

Planning is crucial irrespective of your writing style. The texts you study are meant to be thought-provoking, so thought needs to go into what you’re going to say even before you start saying it. My more flexible, relaxed essays always resulted in plans that looked identical to more conventional responses, as seen below.

• Forgetting is important as a coping mechanism to the post-modern world -> older people who “lost more” e.g. Jeevan, Dieter, Clark’s demands to “[not] think about it”
• Nevertheless, remembering is important in forging paths to the future -> the Travelling Symphony
• When they are both embraced, both forgetting and remembering can create the new and honour the old -> the Museum of Civilisation and the electric town

Once you have this understanding of structure, you can begin to move past it.

What exactly does an essay “beyond structure” mean? The way English is currently taught results in a lot of essays more or less looking the same, with a topic sentence dutifully followed by explanation of that point, and evidence not being introduced until about halfway through the paragraph.

Essays beyond structure don’t ignore those points, but rather, they shuffle them around a little. Evidence can be introduced right after the topic sentence, for example.

The shock of the Georgia Flu is catastrophic, entirely subverting the technological interconnectedness of the 21st century… The “divide between a before and an after” that the Georgia Flu marks is so devastating and uncompromising that it is little wonder, then, that forgetting should become such a crucial tool for reconciling oneself with the radical new world order.

Growing out of "crutch" phrases

In structured essays, transitions between points are obvious. When we want to introduce a quote, we say something like “In Mandel’s Station Eleven… ”, and when we want to analyse that quote we say “Here, the author…”.

Of course, there’s nothing wrong with using phrases like these! They can be very helpful in showing your assessor where you are addressing the task and the text. But addressing “crutch” phrases in your writing, which are often overused and underdeveloped, is a fairly straightforward way of forcing yourself to write differently.

Some “crutches” that I always used include:

• This exemplifies… – introduction to analysis
• Indeed… – transition to another point
• Ultimately/In conclusion… – concluding

It is important not to mistake signposting for these crutch phrases, such as “Furthermore” or “Conversely”. Signposting helps assessors determine when you are building on or deviating from previous points, which is highly useful when they’ve read a hundred essays on the same prompt as yours. Crutch phrases, on the other hand, make you feel better about your essay, when in actuality they contribute very little and could be rewritten to be something of greater value.

The following statement follows the typical English pattern of evidence to analysis.

In Emily St John Mandel’s Station Eleven, Dieter “longs for the sound of an electric guitar”. This exemplifies the wider loss of technology, and even identity, suffered by humanity after the Georgia Flu, and indeed is further highlighted by the “incomplete list” of Chapter 6.

There’s nothing wrong with the analysis above, and it makes a good point about the text. But removing “This exemplifies” forces a writer to try something daring and new…

Dieter, an otherwise well-adjusted member of the Travelling Symphony, “longs for the sound of an electric guitar” – his desire echoes Chapter 6’s list, and the omnipresent lack of electricity to a species once defined by it.

Shorter quotes are your friend

A great way to keep up the momentum of such an essay is to let points bleed into each other. There is no rule in English that says the first two sentences of your paragraph can’t include evidence, nor any regulations stipulating that the end of a paragraph has to be a rewritten version of the topic sentence.

Evidence, I have found, is the best way to bridge gaps between discrete points of structure. Not only does using evidence show understanding of the text, but it doesn’t have to be an entire sentence all on its own. Sometimes, two or three words are enough to marry two points – and, at the end of the day, shorter quotes are easier to memorise!

Mandel’s narrator mourns fundamental modern aspects of survival, such as “pharmaceuticals” and “fire departments… police”, in the same space that she pays homage to “concert stages” and “social media”. The resulting impression is not one of traditional cutthroat dystopia… Rather, Mandel’s quiet remembrance of the … modern innovations of technology that brought the 21st century together … highlights the emotional consequences of such ease of communication being lost.

Reading is fundamental

If you’re feeling a little overwhelmed about moving beyond structure, don’t worry – there’s something quick and easy that you can do right now to help push your writing, and it doesn’t even involve any writing of your own.

If you get the opportunity to, I would encourage you to read other people’s essays. Obviously, higher-grade essays are always valuable, but they can also be intimidating, even demoralising. I’ve found that reading essays at my grade level, or even lower, have been fantastic for learning new phrases and picking up different bits of evidence.

The best thing about English, in my opinion, is the same thing that brings it the most criticism – that there is no right answer. It can never hurt your understanding of a text (or your potential grade) if your discussion is informed about more perspectives.

Practice makes... progress!

At the end of the day, any and all good English essays have their roots in the fundamentals. Even as you play around with structure and move past formula, it is always crucial to remember the basics, and to return to them if you feel like you’re getting lost.

Always remember to link back to the prompt! It’s something so basic and obvious that students of all grades overlook. The prompt is the backbone of your essay – make sure that you keep it centre stage.

Get feedback as often as you can, whether it be from teachers, tutors or other students that you trust. English is a game of constant tweaking and refinement, and the more feedback you get the better your essays will be for it.

Finally, practice. Writing, like any skill, can only be honed and improved if one puts effort into honing and improving it. Writing beyond structure often comes as a massive learning curve, and it is diligence and a willingness to learn – not natural talent – that will allow you to become better and better at it.

To conclude

English is tough, and because almost everybody does it, it can be hard to stand out from the masses. Being different takes courage, and in VCE it certainly takes a lot of work, but I have found that writing beyond structure has the potential to elevate not only your understanding of a text or your performance in SACs and the exam, but your enjoyment of writing for English as a whole.

This blog was updated on 28/10/2021.

Essay Topic Breakdown

Sample essay topics.

• Useful Resources

Themes (Similarities and Differences)

[Video Transcription]

We’ll be applying the CONVERGENT and DIVERGENT strategy from LSG’s How To Write A Killer Comparative and at how ideas are developed in similar or different thematic directions in these texts. CONVERGENT ideas lead to similar conclusions and messages, while DIVERGENT ideas take us to different conclusions. If you’d like to learn more about this strategy which can help you build more insightful discussions of the text by finding unique points of comparison, then I’d recommend you check out the LSG’s How To Write A Killer Comparative study guide. In the meantime, let’s start with some CONVERGENT ideas. 

Power, Race and Oppression

In both texts, we see racial systems that take power away from Bla(c)k people. In the play, settler-colonialism is a big one. It’s depicted as a home invasion, a ship taking up a whole harbour, and as a process of devaluing land and ignoring its custodians. This trickles into contemporary institutions (widely understood patterns, rules or structures within society) which perpetuate these dynamics of race and power, such as the police and the media. Oppression is similarly maintained in  The Longest Memory , where physical violence, and even just the threat of possible physical violence, is used to enslave African Americans. Plus, all of this racial violence was justified by the socio-economic interests of enslavers . Both texts see Bla(c)k people disempowered by a range of white institutions. 

Check out our comparative scene analysis where we explore this theme in more depth.

Family and Community

On the other hand, family and the wider community are depicted as a galvanising or healing force in both texts. In  The 7 Stages of Grieving , we see how death can bring together entire communities to commiserate, dance and mourn collectively, drawing on one another’s strength. Depictions of families in projections of photographs also outline how joy and solidarity can be drawn from community. In the novel, family ties are also important. Whitechapel and Cook build a committed relationship to one another; she even says, “he proves he loves me every day.” At the same time, Cook also provides her unconditional love and support to Chapel, whose education and eventual relationship with Lydia are facilitated by her.

Memory and Grief

Both texts show how memory and grief are significant burdens for Bla(c)k people and operate at multiple dimensions. The play is sort of built around the five stages of grief but demonstrates how First Nations grief isn’t neat or linear. It can go from highly expressive to numb in moments. It also has roots in Australia’s genocidal history such that the death of any First Nations person—but especially elders—is felt widely. In  The Longest Memory , there’s a physical dimension to Whitechapel’s grief. He earns the name “Sour-face” because of the worry lines that developed after Chapel’s death. He feels extremely guilty and only after Chapel dies does he realise why Chapel disagreed with him so stubbornly in life. He actually learned the tough lesson that he’d been hoping to teach Chapel.

What about divergent ideas? Let’s break down two now.

Struggle and resistance.

Both texts offer ideas about what the fight against racism might look like, but at times these ideas are more different than similar. In  The 7 Stages of Grieving , the main struggle is to be heard and understood . In the play and in real life even, we can see how the media is stacked against First Nations peoples, so their fight is about cutting through the bias and making sure they are fairly represented. In  The Longest Memory , the fight against slavery is portrayed quite differently. In a scenario where physical violence was used the way it was in order to oppress, self-emancipation was seen by many as the only path out. Enslaved workers weren’t fighting to be heard, they were fighting to survive. It’s also worth bearing in mind the history of abolition, which happened in Northern states first. This gave them a destination, as well as hope. 

The Generation Gap

The other thing that the texts diverge on is the relationship between parents and children. In the play, family is consistently shown to provide support and community. As the woman speaks about her father and brother, the unconditional love and support between them is palpable. However, the novel depicts a bit more conflict— Whitechapel argued with Chapel based on his lived experience, and the many young people he had seen be killed for trying to free themselves. However, Chapel was far more committed to freedom than to survival. There isn’t necessarily a ‘right’ answer either way, but this definitely isn’t a tension that we see in the play.

I discuss all these themes in further detail in A Killer Comparative Guide: The 7 Stages of Grieving & The Longest Memory . In this guide, I offer you a deep dive into these two texts through plot summaries and analyses, structural features, critical readings, and best of all, 5 sample A+ essays fully annotated so you can understand exactly how to achieve better marks in your own essays.

As with all our essay topic breakdowns, we'll follow LSG's THINK and EXECUTE technique, as taught in our How To Write A Killer Text Response . The LSG's THINK and EXECUTE technique follows three steps in the THINK phase - A nalyse, B rainstorm, and C reate a Plan. Learn more about this technique in this video:

Let's use essay topic #1 from the section below.

Compare the ways in which the two texts explore the possibility of social change.

Step 1: Analyse

‘Social change’ is a key term here, but the word ‘possibility’ also stands out to me. Social change—probably towards equality—isn’t something that just happens, so the prompt also wants us to think about how to get there, and whether that seems achievable in the contexts of these stories. The prompt is phrased as an instruction (“Compare”) which invites you to analyse both texts together, but you totally knew that already!

Step 2: Brainstorm

I’d probably start by brainstorming what exactly needs to be changed. In each text, we see institutions and structures which are violent and harmful—from the play, police and the media, and from the novel, the economy itself. However, these institutions are upheld in different ways, and require different mechanisms of change—while the play emphasises grieving and unity, the novel focuses more on emancipation.

Step 3: Create a Plan

Because we’ve got two sets of ideas for each text, let’s alternate the texts (Essay Structure 1, as discussed in How To Write A Killer Comparative ) to cover these ideas in four paragraphs.

P1: Starting with The 7 Stages of Grieving , social change is required at the institutional level. Police and the media are racially biased, and Aboriginal people aren’t given a platform to tell their stories. Reconciliation needs to include Aboriginal voices.

P2: With The Longest Memory , social change is required across the economy that depends on enslaving people and stealing their labour, while others have an economic interest in the status quo.

P3: Because of this, change seems more possible in the play, and we start seeing it happen towards the end, as the ice thaws and people, Bla(c)k and white, march across the bridge together.

P4: On the other hand, emancipation is seen as the only path to change in the novel, as intergenerational social pressures among the enslaving class in the South are insurmountable.

So our contention will probably revolve around the idea that ‘social change’ means different things in each text as social inequalities exist at different levels (Paragraph 1&2)—as such, the ‘possibilities’ for that change look different as well (P3&4), particularly the extent to which white people can be involved in that change.

If you'd like to see the sample A+ essay we wrote up for this essay topic, then you might want to check out our A Killer Comparative Guide: The 7 Stages of Grieving & The Longest Memory!

Sample Essay Topics 

Now it's your turn! Give these essay topics a go.

1. Compare the ways in which the two texts explore the possibility of social change.

2. How do The 7 Stages of Grieving and The Longest Memory present the emotional pain of racism? 

3. What do Aunty Grace and Chapel illustrate about the complexities of belonging to a racial minority?

4. Compare how the narrative structures of The 7 Stages of Grieving and The Longest Memory enhance their storytelling effect.

5. “People called him Boonie! He was known as Boonie…” (The 7 Stages of Grieving)

6. “I literally saw the boy surrender to that whip …” (The Longest Memory)  ‍

7. Compare how the two texts explore innocence.

If you're interested in reading a 50 study scorer's completed essays, along with annotations so you can understand my thinking process, then I would highly recommend checking out LSG's A Killer Comparative Guide: The 7 Stages of Grieving & The Longest Memory.

Useful Resources

How To Write A Killer Comparative study guide

The Ultimate Guide to VCE Comparative

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

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

‍ ‍ A Guide to Structuring a Reading and Comparing Essay

Reading and Comparing Essays

• Plot Summaries
• Themes, Motifs and Key Ideas
• LSG’s Bubble Tea (BBT) Strategy for Unique Strategies
• Structural Features Analysis
• Sample Essay Breakdown

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

1. Plot Summaries

Summary - the hate race .

Maxine Beneba Clarke’s seminal novel, The Hate Race, follows the childhood and adolescence of its author, who is the main protagonist. The book is a memoir, meaning that it is based around a recollection of her life and filtered through her psyche and experiences. The book begins with Clarke’s family, British citizens of Afro-Carribean descent, moving to Sydney, New South Wales. They settle in the town of Kellyville, which is known as a ‘white picket’ community. Although these communities largely don't exist anymore, what they once described was suburban environments where only Anglo-Australians lived. As you can probably imagine, this immediately caused problems for Clarke’s family, with suspicion from neighbours and racist interactions with other kids in the neighbourhood. Clarke initially focuses on her experiences in kindergarten, revealing how prejudice and discrimination can be inculcated (meaning, ‘taught to’) in children even from such a tender age. Clarke meets her first tormenter - Carlita Allen. Carlita makes every effort to exclude Clarke from participation in usual preschool activities, hurling insults across playgrounds and calling her ‘dirty’. Literally, of course, Carlita is referring to Clarke’s black skin colour, but, metaphorically, it reflects the deeply hateful implication that anyone with a dark complexion is inherently inferior and lesser than white Australians. The bullying doesn’t stop by the time Clarke reaches primary school. In fact, it intensifies, aided and abetted by teachers who consistently turn a blind eye to the constant, gut-wrenching racial abuse. One of the most salient (meaning, ‘important’) scenes arises when Clarke is asked by a teacher what her parents do for a living. Upon informing the teacher that her mother is an actor, and her father is a Mathematics Professor - the first British citizen of Afro-Carribean descent to attend a British university - she is met with the patronising assumption that she must be lying. Surely black people wouldn’t have the emotional and intellectual intelligence to perform such high-powered jobs? Clarke also develops eczema during her primary school years, leaving patches of lighter-coloured skin covering her face, and a newfound hope that, bit by bit, God is answering her prayers and making her white. In high school, the racist rot sets in even further. Clarke develops a new habit for scratching her skin at night to the point of bleeding and bruising. Looking back at this experience, Clarke theorises that this was her body’s way of expressing her extreme discomfort with being black. It gives us a picture of how horrific racism can truly be, and the ways in which it forces minorities into believing that there’s something wrong with them, instead of there being something wrong with the people hurling abuse in the first instance!

It is this stage of her life when Clarke deals with one of the most difficult parts of being a minority in a majority white country. Through her interactions with teachers, friends and boyfriends alike, she becomes deeply angry at those people who abhor racism themselves, but seem unable to step in when racist events are actually occurring. Clarke also deals with more nuanced experiences of racism - people who don’t intend to be racist, but end up making insensitive comments anyway. Whether intentional or not, these comments still hurt, and are still part of the challenges of growing up black in a white country. Nonetheless, Clarke continues to rise above the odds, becoming a prolific high school debater, maintaining her position at the top of the academic cohort, and forming a small but tight-knit group of friends whom she can trust. 

Clarke’s recollection of her childhood ends on a relatively abrupt note, with Clarke returning home to realise that her father has left the family for another woman. In a note to the family, he provides no explanation other than that he had a secret affair for many years. Suddenly, Clarke, her brothers, sisters and mother are left to pick up the pieces. In the epilogue, Clarke is now an adult with a child of her own. Walking down Melbourne’s North Road, she reflects on the challenges and opportunities to which her child will be witness. Clarke portrays it as the dual sadness and happiness of knowing that, in Australia, her children will surely have access to more opportunity than in most parts of the world - but it will come at a cost. Namely, they will also have to contend with the remaining undercurrent of racism that, even now, still seeps through Australian society. The unsatisfying end to the novel reflects the nature of racism and the experience of a minority growing up in a white country itself: there is no happy ending. Rather, life becomes a series of painful incidents interspersed with minor victories; those who stand up against racism, those who fail to do so and the hundreds of thousands of Australians who will forever grapple with a society that sees them as ‘ lesser than’ due to the colour of their skin. 

Summary - Charlie’s Country

Charlie’s Country , an Australian movie directed by Dutch-Australian Rolf De Heer, follows the story of Charlie, a First Nations man living in late-2000s Australia.

The movie is set in the wake of the 2007 Northern Territory Intervention. As a bit of quick context, this was an action taken by the Commonwealth Government under Coalition Prime Minister John Howard to send Australian Defence Force troops into the Northern Territory. It came in response to the ‘Little Children are Sacred’ report , which raised allegations of child sexual abuse and neglect of children in Aboriginal communities. The intervention also involved restricting alcohol consumption, quarantining a portion of welfare payments to Indigenous residents (with the justification that this would prevent it being spent on alcohol, pornography, cigarettes, etc.) and hefty fines as well as jail sentences for those forced to comply. It is important to note that, throughout the whole intervention, not a single person was prosecuted for child sexual abuse or any related offence. Nonetheless, this intervention had real world, drastic consequences - and that’s exactly what Charlie’s Country explores. At the time of de Heer’s film, Charlie lives in a remote Indigenous community. Signs of the intervention are all around - alcohol is banned from most communities, many individuals face personal bans on procuring alcohol, police officers dot the streets and citizens live under constant watch. Charlie, on a surface level, is a fairly happy-go-lucky individual; he exchanges jokes with police, is friendly with other elders and people in his community and doesn’t seem to do much else. As always with a movie like this - there’s a bigger story behind this all! Rolf de Heer takes us through an increasingly concerning image of Aboriginal communities in the wake of the intervention. Charlie visits his local housing officer and is unable to obtain a house. Here, we see that Charlie is willing to work and wants stable accommodation, but the government is unwilling to provide.

Going on a hunting trip with his friend, ‘Black Pete’, the two are stopped by police and have their guns, as well as the water buffalo they killed, confiscated. Yet again, two Indigenous men try to provide for themselves - but are stopped by a legal system more concerned with rules and procedure than listening to First Nations communities themselves. Charlie decides he’s had enough of having his every move and action monitored, and takes a stolen police car into the bush. Abandoning the car, he tries to live amongst nature for an unidentified amount of time. Cooking fish, performing traditional First Nations dances, painting on the bark and looking for shelter, Charlie finally appears to be home . Yet, as usual, it’s too good to be true - the extreme cold makes Charlie incredibly sick, and, before we know it, he wakes up in a Darwin hospital. After refusing further treatment from the white doctors who fail to understand Charlie’s situation and why he is so angry at what’s happened to him, the predictable cycle begins again: Charlie returns to his community, they all share alcohol as a way of coping with their current situation and flee when the police come running to confiscate the liquor. Charlie isn’t civil with the police this time. In a fit of anger - an outburst of emotion after decades upon decades of control and being denied access to any opportunity - he picks up a bat and smashes the police officer’s car window. Brutally beaten into submission, Charlie is imprisoned as the police officer remarks that he should never have 'gone soft on a blackfella’. 

Dragged before the courts, Charlie is imprisoned for assault. When the judge asks him to make a comment, he gives a lengthy speech in his native language. For de Heer, this acts as a symbolic assertion of the First Nations’ rights to their own culture, and a proud statement against the many governments that have continually placed barriers in the way of Indigenous Australians having the same opportunities as any one of us. Eventually, Charlie is released on parole. He expresses a deep desire to go home - but also a sense of defeat . He resolves, in the end, to believe that even if he will always live under the watchful eyes of the Australian Government, he can at least fight back and contribute by doing his bit to maintain the many cultures of our First Nations Peoples. Charlie teaches young Indigenous boys traditional dances, speaking proudly of when he performed a dancing ceremony for Queen Elizabeth in 1973 at the Sydney Opera House. The movie ends with Charlie staring mournfully into the camera, almost looking at the audience themselves. There seems to be no happiness in his eyes - nothing left but a sense of sadness and resignation. I know that, upon approaching the end of the film, I started to feel the same sadness that Charlie so evidently shows us. It’s a different type of emotion; one centered around the pain of knowing that we live in a country that still has not made peace with its past, and refuses to listen to the First Nations Peoples who know it best. Charlie’s Country exposes to us that Australia is a country where, even today, our First Nations citizens are not treated as equals. As such, de Heer’s film is a stark reminder that this state of affairs is not good enough - and that the responsibility for change doesn’t just lie with politicians and decision-makers . It’s our job too: and failure is not an option .

2. Themes, Motifs and Key Ideas

Through discussing Themes, Motifs and Key Ideas, we’ll gain a clearer understanding of some super important ideas to include in your essays. Remember that, when it comes to themes, there’s a whole host of ways you can express your ideas,  but this is what I’d suggest as the most impressive method to blow away the VCAA examiners. We’ll be adhering to the CONVERGENT and DIVERGENT strategy. While we don’t go into detail into how to use LSG’s CONVERGENT and DIVERGENT strategy in this guide, I’d highly recommend you get familiar with it by reading How To Write A Killer Comparative .

Connection to Culture (CONVERGENT)

Both de Heer and Clarke offer a unified idea around culture: that being connected to one’s culture is inherently good and positive, and should be encouraged. Let’s break this down. The Hate Race and Charlie’s Country are both works that explore the challenges of individuals maintaining their culture in surroundings which would otherwise see them revert to the ‘standard’. In this case, because we’re talking about Australia, de Heer and Clarke take us through the same story of an overarching, implicit acceptance that the Christian, Anglo way of life is the norm. This standard has deep roots in the colonisation of Australia, and the resulting claim of sovereignty by the Crown. Even as this country has evolved into a multicultural land, it still bears the marks of a ‘European’ country; whether that be our British legal system, Anglo-American democracy or any of the other institutions we have taken from the Western world.

It is in this context that de Heer and Clarke go to special lengths to explain why people should be empowered to connect to their culture. To our author and director, culture is an essential element of who you are, and it is this identity which carries people through life . For Maxine, the shock of realising that she may be the descendant of African slaves, and had lived so many years without having any idea this may be the case, is drawn from the fact that she, as a child, feels incredibly disconnected to who she is. Clarke’s memoir thus reminds us that ‘growing up black in a white country’ is an experience that often results in minority children not truly learning about who they are. Travelling through life, Maxine is continually disconnected from her culture, to the point where performing ‘African tribal dances’ to the school is nothing more than a joke. Even in her own estimation, Maxine has internalised (meaning, she’s adopted it herself) the view that her culture is irrelevant, and there’s no real reason for her to properly engage with all its complexity and beauty.

If we consider Charlie’s perspective, his involuntary burst of tears at the hospital stems from a recognition that his people have been denied the free opportunity to embrace the world’s longest-surviving culture; the First Nations traditions that date back 40,000 years. With his friend slowly dying of lung cancer, at that moment, the old man is more connected to the cigarettes that slowly sapped his life away than he is to the First Nations way of living. Unable to hunt, gather as a community, work the lands as the First Nations traditionally would or embark on any other activity that would keep them connected to their culture, this country’s first inhabitants are instead told to abandon ‘the old ways’ and embrace Anglocentric standards of life.

It is a shocking reminder that, without culture, people are left like driftwood swimming through a vast ocean. By that, I mean that people are left without an anchor through which they can independently experience the world. Instead, their understanding of themselves, their sense of self and their actions in life are all filtered through the preferences of the dominant majority.

Intergenerational Disadvantage (DIVERGENT)

Whilst Charlie’s Country and The Hate Race share many similarities in terms of the negative impacts of racism and prejudice, the texts carry different connotations when it comes to the notion of intergenerational disadvantage. 

To explain this idea, let’s first define and unpack ‘intergenerational disadvantage’. We could spend days talking about this, but, simply, intergenerational disadvantage refers to cycles of poverty and criminality that pass from generation to generation, worsening with time. Think of it this way: assume you’re a teenager - or at least still financially reliant on your parents. If your parents were to lose everything they owned today in a massive financial crisis, you’d be in big trouble too, right? Suddenly, that part-time job you had that was helping you save money might be the only income for the entire family. You might even have to drop out of school, TAFE or university to care for everyone, denying you a higher paying job in the future. 

You’ll have to work your tail off for years on end. Since you’re supporting an entire family, say goodbye to saving up for a house or to pay for your kid’s education in future. Your kids now have to start from square one with less opportunity than the people around them, meaning it’ll be harder for them to succeed in life.

When we apply this to Charlie’s Country, the analogy becomes quite clear. Charlie lives in a community where there is no opportunity. Because there are no jobs - and no real way to gain steady, meaningful employment - people fall into alcoholism, marijuana and anything else that’ll help them cope. Lung cancer and alcoholism shorten lifespans for people like the old man with failing kidneys, while no employer is going to waste a chance on those still living. There is simply no ability to ‘succeed’ here, because the local residents don’t see that there’s anything worth working towards. Hopeless, unheard and disillusioned, it becomes easier for Charlie’s community to just accept their sorry lot in life than futilely work towards changing it.

We aren’t made witness to this same cycle in The Hate Race. Instead, Bordeaux Clarke is the epitome of someone who has broken the cycle of intergenerational disadvantage; becoming the first individual in his community to attend a British university. Marrying a high-powered Guyanese actress in Cleopatra, the married couple represent success and a defiance of racist stereotypes, not the grinding poverty and disadvantage we see in Charlie’s Country. Although Maxine experiences terrible discrimination and prejudice as a child, there is always a sense that she will academically remain on top. Maxine uses the prejudice with which she’s faced as a motivator, giving her the impetus to consistently emerge successful; whether that be in her schooling, cross-country running, as a debater or any other academic endeavour. Sure, she faces racism that inhibits her from always succeeding - the Lions Club competition is a great example of such - but this isn’t so much about intergenerational disadvantage as it is about racism, plain and simple.

Ultimately, the difference between the two is a matter of emphasis. It’s not that intergenerational disadvantage doesn’t exist in The Hate Race, but more so that Clarke is choosing to focus on how even the most successful individuals can suffer from prejudice and racism. This in turn helps us to understand that racism impacts everyone , and we should never pretend it isn’t a massive problem. Conversely, Charlie’s Country is all about social disadvantage, and explores how prejudice can prevent oppressed individuals from becoming successful in the first place. 

3. LSG’s Bubble Tea (BBT) Strategy for Unique Strategies

Why is an interpretation important.

Your interpretation is what English is all about; it’s about getting you to think critically about the essay topic at hand, to formulate a contention (agree, disagree, or sit on the fence) and argue each of your points with the best pieces of evidence you can find - and it’s something you might already be starting to do naturally.

In this section, we aim to help you develop your own interpretation of the text, rather than relying on your teacher, tutor or even a study guide (including this one) author’s interpretation. By developing your own interpretation, you become a better English student by:

• Writing with meaning. For a text to be interpreted, you need a text and an interpreter (i.e. you!). Whenever we read a new text, our interpretation of a text is shaped by our pre-existing beliefs, knowledge and expectations. This should be reassuring because it means that you can leverage your own life experiences in developing a unique interpretation of the text! We’ll show you how this works in the next point.
• Remembering evidence (quotes or literary devices) more easily. If you know you admire a character for example (which is in itself an interpretation 😉), you can probably remember why you admire them. Perhaps the character’s selflessness reminds you of your Dad (see how you’re using real life experiences mentioned in Point 1 to develop an interpretation of the text?). You will then more easily recall something the character said or did in the text (i.e. evidence) that made you admire them.
• Having an analysis ready to use alongside the evidence. As a result of Point 2 , you’ll be able to write a few sentences based on your own interpretation. Rather than memorising entire essays ( we’ve talked about this before ) and regurgitating information from teachers, tutors, study guides and other resources - which can be labour intensive and actually detract from the originality of your essay - you’re approaching the essay with your own thoughts and opinions (which you can reuse over and over again across different essay topics).

Let’s look on the flip side. What happens when you don’t have your own interpretation?

When you don’t take the time to actively think for yourself - i.e. to think through your own interpretations (we’ve talked about the importance of THINK in the THINK and EXECUTE strategy here ) - when it finally comes to writing an essay, you may find it difficult:

a) to get started - formulating a contention in response to the essay topic is challenging because you have no strong opinion about the text ,

b) complete the essay - writing up arguments and using evidence in paragraphs becomes challenging because you have no strong opinion about the text ,

c) to score higher marks - ultimately, you end up regurgitating other people’s ideas (your teacher’s, tutor’s or from study guides) because you have (you guessed it) no strong opinion on the text .

Having your own interpretation means that you’ll eliminate issues a, b and c from above. Overall, you’ll have opinions (and therefore contentions) ready for any prompt when you go into your SACs or exams, which means it’ll be easier not only to write a full essay, but an original and insightful one as well.

To overcome the issues above, you need to be confident with your own interpretation of the text. This doesn’t come naturally to a lot of students, and it makes sense why. After all, so many subjects reward specific answers (2 + 2 = 4), whereas English is tricky because there’s so much more flexibility in what constitutes a ‘correct answer’. It’s scary treading the sea of different possible interpretations because you’ll ask yourself questions like:

• How do I know if my interpretation is correct?
• How do I know if my evidence actually backs up what I’m arguing?
• What if I disagree with my teacher, and they mark me down for a differing opinion?
• Or worse - I’m not smart enough to come up with my own interpretation!

Let me say that you are absolutely smart enough to develop your own interpretation, and I’ll show you how to do so in A Killer Comparative Guide: The Hate Race & Charlie’s Country with LSG’s unique strategy - the BUBBLE TEA (BBT) strategy . By following our step-by-step framework, you can be confident that your interpretation is valid, that it backs up your argument, and that most importantly, you won’t lose marks for it!

4. Structural Features Analysis

In How To Write A Killer Text Response , we cover Metalanguage . A Structural Features Analysis and Comparison goes over a lot of the same material, and will help elevate your essays to the next level. Knowing quotes and themes is essential, but being able to pair that with analysis of the title, setting, narrator and overall structure - we'll cover title here - shows the examiner that you really know exactly what you’re talking about. This section will be especially crucial for metalanguage topics that are all about how Charlie’s Country and The Hate Race are structured , so, enjoy!

The title of a text is always significant - and this text pairing is no different. First, of course, please do keep in mind that there is no universally accurate interpretation of what a title means. I’m giving you my assessment, but the author and director could very well disagree themselves! That’s okay, because as long as we back it up properly, your interpretation is as valid as any. As always, that’s the beauty of English. Let’s first unpack The Hate Race. What this title signifies is that, for minorities in Australia, life is constantly akin to a race. There is no rest, no comfort and no sense of home when your mind is preoccupied with all the ways you don’t belong. Australia, as a colonial outpost representing the Crown in a region that is overwhelmingly non-white, was once proud of its discriminatory stances; holding itself as the 'White Man’s Paradise'. It is in this context that racism, for Clarke, is not just a reality that lurks beneath the surface, but rather, a guiding tenet of Australia since 1788. With this overarching narrative, it is also important to acknowledge that the mere experience of racism is immensely emotionally, physically and mentally taxing for Clarke, and all people of colour. Being denied a firm sense of self, and constantly being forced to justify one’s own existence isn’t easy, and becomes a ‘race against time’ to see who can cope and rise above, and who will be swept away along with the tide. This sorrowful reality is what engenders the never ending race against being consumed by such hatred, because, for non-white Australians, there simply is no other choice. If they stop running, they run the risk of being consumed by the hatred themselves and becoming so cynical and disillusioned that they forget their culture and accede to the Anglocentric, white majority. 

Moving to de Heer’s film, Charlie’s Country, the title reflects a simple reality: this is Charlie’s country. However, when de Heer speaks of ‘country’, he is really talking about ‘Country’; the Indigenous notion of connection to and respect for one’s traditional lands. Nurturing this connection is a sacred responsibility, and the film reminds us that, despite Charlie’s many trials and tribulations, the land on which he lives is truly his own. Throughout the film, Charlie maintains a keen awareness that what is happening to him is unjust, and, unlike Maxine, he doesn’t need someone to convince him that he belongs. Whatever Anglo Australia does, it cannot change the continuing legacy of his people and their sovereignty. To Charlie, it is laughable to think that his Country - which the First Nations have nurtured and kept in common use for 40,000 years - could suddenly become someone else’s property in less than 200 years. He may not have any legal authority under the Crown, and his people may be dispossessed of their sovereignty and authority, but this cannot and will not change the remaining truth of First Nations sovereignty. De Heer’s film title thus challenges us to confront our own perceptions of Australia and remember that we all live on stolen land.

As with all our essay topic breakdowns, we'll follow LSG's THINK and EXECUTE strategy , as taught in our How To Write A Killer Text Response study guide. The LSG's THINK and EXECUTE strategy follows three steps in the THINK phase - A nalyse, B rainstorm, and C reate a Plan. Learn more about this technique in this video:

'I’m free now!' ( Charlie’s Country ) 'My children are the descendants of the unbroken.' ( The Hate Race ) Compare the characters’ understanding of freedom in the two texts.

Let’s break down the prompt. This is a quote-based prompt, meaning the quote must feature somewhere in your essay . Ensure that you have a good understanding of the place from which the quote is drawn. In this case, Charlie’s exclamation of joy features when he escapes to the wilderness and is able to cook, dance and provide for himself. The quote from The Hate Race is the last line of the memoir, with Clarke expressing the sentiment that her children belong in Australia and will be as strong as their parents.

The next part is to establish the link between the quote and the topic. The essay topic at hand asks us how 'freedom' is understood, so we need to actually understand freedom itself in relation to the quotes provided. For de Heer and Clarke, freedom isn’t an abstract concept relating to rights, liberties and responsibilities. Rather, freedom is found when people have the ability to be themselves, own their culture and live their truth. For Charlie, that mainly relates to his right to live in his country and maintain the traditional ways of the First Nations Peoples. Clarke, however, is more focused on the balancing act of finding freedom through a multicultural society that includes all, and in doing so celebrates the contribution that all cultures make into the melting pot that is Australia.

There’s no one correct way to structure your paragraphs for Charlie’s Country and The Hate Race . However, I find it consistently helpful to follow a chronological structure. This refers to going through events of the memoir and film in the order they actually occur, and finding unique points of analysis based around these chronological groupings.  

We also need to think of examples and points of comparison. Base these around the themes we’ve gone through, so you can easily identify DIVERGENT and CONVERGENT points of comparison. I’ll walk you through my thinking.

Paragraph 1 – unable to experience freedom because systems exist to stop individuals from embracing their own culture

• Kellyville and Alice Springs are immediately established as communities where rules and standards of association are both made and enforced by white authorities. The types of authorities and the prevalence of this overarching system of control differs between The Hate Race and Charlie’s Country , but are not any less harmful.

Paragraph 2 – attempts at pushback are rebuffed, resulting in further punishment for the simple crime of failing to conform

• Anglo Australia maintains its dominance through an assumption that minority Australians and First Nations Peoples will not question their place. Thus, when there is even the smallest semblance of resistance, punishment is the only solution. 
• The difference here is that while Charlie wages an active resistance against white authorities, Maxine is moreso placed into submission by the repeated failure of her pleas to be heard by anyone in a position to change what is occurring. At the centre of both situations, though, is a desire to break free of white Australia’s chains.

Paragraph 3 – finding cultural freedom is a slow process of change, but one that begins with self acceptance

• There is no happy ending to either The Hate Race or Charlie’s Country. Freedom does not suddenly spring forth. Instead, our author and director elucidate that cultivating freedom is a slow process. For Charlie, that begins with embracing his culture again and seeking to keep it alive. On Maxine’s part, it is about refusing to be broken by her past, and instead using her trauma as a motivator to build a better future.

If you'd like to see the sample A+ essay we wrote up for this essay topic, then you might want to check out our A Killer Comparative Guide: The Hate Race & Charlie's Country study guide !

We’ve explored historical context, themes, essay planning and essay topics over on our Like a House on Fire by Cate Kennedy blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out!

[Video Transcript]

‘Liz sits there helpless’

• From the beginning of the short story we can see that Liz isn’t, or doesn’t feel in control of her situation. The step by step process where she needs to ‘put the key in the ignition and turn it. Fire up the car and drive away’ showcases how the smallest details of starting the car, something that should be so simple instead requires immense mental effort on her behalf.

‘And he’s in there, alone, where she’s left him’.

• Her guilt bubbles to the surface here because it’s as though she’s the villain here, and she’s to blame for leaving him alone.

‘Abandoned him to a roomful of rampaging strangers’

• What’s really interesting here is her description of the other children. Instead of seeing this as an opportunity for Daniel to befriend others and have a great time, she describes them as ‘rampaging strangers’, giving us a sense that Daniel is subject to an unfamiliar environment that is wild, frenzied, rioting.

“Guerilla warfare”, “Jungle gym”, "seasoned commanders”

• These "fighter” phrases reveal Liz’s anxious mindset, as she imagines a world where her son is almost in the wilderness, every man for himself, as though it’s the survival of the fittest - and which Liz so fearfully express, “not that there’s going to be anybody with enough time to notice that Daniel needs help”, is not an environment where Daniel belongs.

“She digs in her bag for her lipstick, her fingers searching for the small cylinder, and pulls out a crayon, then a battery, then a tampon, then a gluestick.”

• Her everyday objects are splashed with Daniel’s belongings - the crayon, the gluestick, and demonstrate how intertwined her life is now with her child. This foreshadows her return to her pre-baby life - that things will not be the same.

“The smell of the place, that’s what throws her, the scent of it all, adult perfumes, air breathed out by computers and printers and photocopiers.”

• Even her sense of smell betrays her being away from Daniel. There’s a sense of alienation, of nausea that shows readers like us that Liz doesn’t feel like she belongs. This is in contrast to later in the story when she is reunited with Daniel and is comforted by ‘inhaling[ing] the scent of him again’.

“Same computer, same shiny worn spot on the space bar…"

• The repetition of ’same’ actually heightens how much has actually changed for Liz. Her entire world is now Daniel, whereas everything in the office is as it used to be. Therefore, there’s this sense that the people’s lives in the office remain unchanged, highlighting again Liz’s alienation.

“Yeah, yeah, yeah, they’re right, of course they are.”

• This sarcastic internal monologue reflects Liz’s current state of mind, where she’s experiencing a disconnect from her coworkers, and ’the land of the living’.

"Delete, she presses. Punching the key like a bird pecking. Delete, delete, delete.”

• We can feel Liz’s exasperation at this stage. The simile ‘like a bird pecking’ automates Liz’s actions in the workplace, as though she is doing it by switching to a ‘mechanical form’ of herself. The repetition of ‘delete, delete, delete’ gives us the sense that she’s frustratingly attempting to ‘delete’ her self-acknowledged, perhaps over-the-top anxiety surrounding Daniel, or trying to delete herself out of her situation. Whichever is unclear and left up to interpretation. Perhaps both ring true.

‘Returning to work after maternity leave’

• Liz’s narrative interspersed with new mum’s pamphlet. The juxtaposition of the pamphlet’s words ‘being a stay-at-home mum can begin to seem mundane and repetitive’ is contrasted with Liz’s love of motherhood - she is at odds with what society tells her she should be feeling.

‘[Daniel]’d have his thumb in his mouth right now. Not smiling, that’s for sure.’

• There’s a self-projection of anxiety here with Liz  assuming that the childcarers are unable to look after Daniel properly, and that he’s suffering.

‘God, these endless extended moments where you’re left in limbo, the time dangling like a suspended toy on a piece of elastic.’

• This simile highlights how her mindset is completely consumed with Daniel, as she likens her daily experiences with objects and things related to Daniel and childhood. She struggles to switch between her identity as a mother, and her previous identity as a colleague in the workplace.

‘Caroline, Julie and Stella had laughed dutifully enough, but their faces had shown a kind of pained disappointment, something faintly aggrieved.’

• Perhaps this is Cate Kennedy's commentary on society and motherhood. The expectations others have on you as a new mother, and how you should be feeling.

‘He doesn’t run over when he sees her’.

• The opening of this chapter is blunt and brutal. Liz has longed to see Daniel all day, her anxiety getting the best of her, and yet at the moment of their reunion, it’s not as she expects. In this sense, we can to feel that Liz is very much alone in her anxiety and despair and, not the other way around with Daniel.

’She’s fighting a terrible nausea, feeling the sweat in the small of her back.’

• Unlike other stories in this collection, her pain isn’t because the absence of love, but because of its strength. Her love for Daniel is so intense that it’s physiological, making her unwell to have been away from him.

• The symbol of cake represents her pre-baby life, a time when she was concerned with the ‘account of Henderson’s’ and ‘delete fourth Excel column’. Her priorities have now shifted, and the celebrated ‘cake’ tradition in the workplace, one that is at the centre of several conversations, is no longer to significance to Liz. Her husband, Andrew’s attempt to celebrate Liz’s first day back at work with cake is highly ironic. The societal expectation that Liz is happy to be back at work even extends to her husband, and heightens how Liz is very much alone in her experience.

If you found this close analysis helpful, then you might want to check out our Like a House on Fire Study Guide where we analyse EVERY story in the text and pinpoint key quotes and symbols!

Watch our YouTube Video on Like A House On Fire Essay Topic and Body Paragraphs Breakdown

Like a House on Fire by Cate Kennedy

Like a House on Fire Essay Topic Breakdown

How To Get An A+ On Your Like A House On Fire Essay

Close Analysis Of 'Cake' From Like A House On Fire

Passage 1: Act 1 Scene 3

   [Aside] Two truths are told,

   As happy prologues to the swelling act

   Of the imperial theme.--I thank you, gentlemen.

[Aside] This supernatural soliciting

   Cannot be ill, cannot be good: if ill,

   Why hath it given me earnest of success,

   Commencing in a truth? I am thane of Cawdor:

   If good, why do I yield to that suggestion

   Whose horrid image doth unfix my hair

   And make my seated heart knock at my ribs,

   Against the use of nature? Present fears

   Are less than horrible imaginings:

   My thought, whose murder yet is but fantastical,  

   Shakes so my single state of man that function

   Is smother'd in surmise, and nothing is

   But what is not.

Passage One from Act 1 Scene 3 takes place just after Macbeth has just been announced as Thane of Cawdor proving part of the Witches’ prophecy true “All hail Macbeth…Thane of Cawdor…/that shalt be king hereafter.” This part of the play is the first insight we have on Macbeth’s inner thoughts.  

Macbeth’s firm and thoughtful tone in the opening alliteration “two truths are told ” stresses how serious he takes the Witches’ predictions. Shakespeare presents this passage as a soliloquy in order to convey Macbeth’s true inner thoughts and motives. As this is Macbeth’s first soliloquy, it emphasises the strong possibility of Macbeth heading down a dark journey as he cannot forget the Witches’ predictions “(it) cannot be ill, cannot be good. If ill, / Why hath it given me earnest of success, Commencing in a truth?”

Shakespeare uses the metaphor of theatre for fate . The meta-theatrical reference, ‘as happy prologues to the swelling act’ makes the audience consider the action that will unfold in the following scenes through foreshadowing.

Macbeth feels that committing regicide will be a “supernatural soliciting”. The word “supernatural” demonstrates that Macbeth acknowledges that such an act is “against the use of nature.” It suggests that if Macbeth kills Duncan, he will forever be trapped in the supernatural world for his dishonourable action. The alliteration of “supernatural soliciting” sounds incredibly seductive, and therefore highlights Macbeth’s lust and thirst for the crown.

There is a physiological response to his unnerving thoughts as the ‘horrid image doth unfix my hair’ and ‘my seated heart knock at my ribs’ , emphasising the horror of Macbeth has with himself  at his thoughts.

The personification “my seated heart knock at my ribs” once again depicts the increasing fear that Macbeth experiences as his heart is not “seated” with its connotations of calmness and steadiness but “knock(ing)” which is associated with alarming fear.

As Macbeth struggles with his conscience and fears “my thought, whose murder yet is but fantastical,/ Shakes so my single state of man,”  he is uncertain whether or not he should take the prophecy into his own hands and murder Duncan or, let time decide his fate “time and the hour runs through the roughest day”. The consonance ’s’, Shakes so my single state of man”.. ‍

The alliteration “smothered in surmise” demonstrates how Macbeth’s vivid imagination causes him to struggle with fear and hesitate undergoing the action that is foreseen by him as a “horrid image.” These mental images are of significance throughout the play as it is evident that Macbeth’ conscience results in him “seeing” a dagger and also Banquo’s ghost.

The antithesis “and nothing is,/ But what is not” is deliberately broken up into two lines to demonstrate the ambiguity of Macbeth’s thoughts and the confusion which evidently contributes to his overall fear. Macbeth’s actions become overpowered by his imagination until ‘nothing is but what is not’ or imagination carries more weight than action. The partial alliteration of ‘smother’d in surmise’ and the antithesis of ‘nothing is but what is not’ makes this notion seem again, particularly seductive to the audience. The word ‘smother’d’ , with it’s connotations of oppression, further amplifies the notion and even suggests that Macbeth’s imagination takes the place of his will.

Many students receive feedback from teachers to ‘avoid retelling the story’ along with red scribbles across their essay that state, ‘paragraph needs further development’ or ‘develop your contention further’. It’s a common issue across the VCE cohort and fixing it does take some time and practice. However, keep in mind that it is definitely possible, you just have to understand what exactly what ‘retelling the story’ means!

So, ‘retelling the story’ – it’s pretty much stated right there the phrase – it’s when you are re-describing or repeating the plot based on whichever text you’re writing on. The reason why it is so cringe-worthy is because: 1. you should assume that your teacher or examiner has already read the book before so they don’t need a summary of the events occurring in the text, and 2. you are wasting time by writing something probably a year 8 student could when instead, you should focus your time on providing a comprehensive analysis of the text when responding to your essay topic.

Here is an example of a student who ‘retells the story’ (using Reginald Rose’s  Twelve Angry Men  – “Twelve Angry Men explores the importance of moral responsibility. Discuss.”):

“The importance of moral responsibility is shown through those who fail to possess any sense of decency or righteousness. The 3rd juror has had an estranged relationship with his son for 2 years. He does not get along with his son since the son is disrespectful to his father. This is unlike the 3rd juror, who used to show respect to his elders by calling his father ‘sir’ going up. He is ashamed of his son since his son once ran away from a fight which made the 3rd juror ‘almost thr[o]w up’. As a result of his personal problems with his child, he sees the defendant as another young kid that needs punishment for his wrongdoings. He believes that ‘we’d be better off if we took these tough kids and slapped ’em down before they make trouble, you know?’. Since he is blinded by his own experience, he lacks the moral responsibility required to be a juror on the trial.”

As you can see, the student above has provided a lengthy explanation of the plot, rather than focusing on the keywords. ‘moral responsibility’, ‘decency’ and ‘righteousness’. The student could easily have cut down on the plot details and used the essential events in the play to act as the basis of his/her analysis. So what are the things you can do in order to provide an insightful passage without falling into the trap of this major English student faux pas? Let’s have a look.

Remember that an essay is based on your interpretation of the prompt – that is, whether or not you agree or disagree with the essay topic. Since you are putting forth a contention, it is important that you try to convince the reader of your own point of view. Unfortunately, this is not possible through merely summarising the plot. Try to break down themes, characters, views and values and language construction when elaborating on your contention. By using your own words to explain an idea, you can then successfully use the book as  support  for your reasoning.

Remember that  repeating  the plot is  not the same as  analysing  a plot. Some students rely heavily on quotes, but this in itself can become a repetition of what occurs in the novel. Never simply rely on quotes to tell the reader what you want to say; quotes are there again for support  and so, use quotes as a basis of interpreting your own opinions and views. Keep this in mind,  don’t tell me what I already know, tell me something I’d like to learn . This will force you to write about your own ideas, rather than repeating the author’s words. Concentrate on a specific section of a plot, or a small passage in the novel. Avoid talking about too much at once. If you are able to achieve this, it will prevent you from falling into the path of wanting to write about an overall event of the book, which is inevitably summarising the plot.If you believe that it is absolutely necessary to write about some of the plot in your essay body paragraphs, try to keep it to a minimum. Practice expressing the vital plot points in one phrase, rather than using 2 or 3 sentences to explain what occurs in the book.

Now let’s have a look at the example below. The discussion is based on the same topic sentence as that above however this time, the student has focused on developing their ideas into an insightful exploration:

“The importance of moral responsibility is shown through those who fail to possess any sense of decency or righteousness. The 3rd juror is shown to be someone who is arrogant and narrow-minded as a direct result of a troubled relationship with his own son. Although he is personally unacquainted with the defendant, he draws a parallel between the youngster with his own young son, stating that ‘we’d be better off if we took these tough kids and slapped ’em down before they make trouble, you know?’. It is ironic when he asserts that ‘everybody deserves a fair trial’ since he is the juror that adopts the most prejudice towards the case, thus demonstrating his failure to possess righteousness. His shortcomings are further highlighted through the stage directions whereby he ‘shouts’ and ‘leap(s) into the breach’, displaying his lack of interest in other jurors’ opinions as he is adamant that his view that the defendant is guilty is indeed, correct. Therefore, it is clear through his narrow-mindedness that he has little sense of moral responsibility.”

2. Characters

5. Sample Essay Topics

6. A+ Essay Topic Breakdown

Station Eleven is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

“Twenty years after the end of air travel, the caravans of the Travelling Symphony moved slowly under a white-hot sky.”

When you think about post-apocalyptic science fiction stories, what kind of thing comes to mind first? Maybe an alien invasion, Pacific Rim style monsters perhaps, and almost always the mad scramble of a protagonist to stockpile resources and protect their loved ones from the imminent chaos and destruction—these are tropes which are tried and tested in this genre.

What mightn’t come to mind as immediately is a story about a travelling Shakespeare troupe wandering the North American continent decades after the actual apocalypse has struck, which is exactly the story that Mandel tells in Station Eleven .

While post-apocalyptic tales tend to focus on the action around the impact of a fictional disaster, Mandel’s novel speaks to the attitudes and characteristics of people which drive any action that occurs. She interrogates central questions about human society, inviting readers to consider what human qualities can endure even an apocalypse, what qualities are timeless.

A tale of two timelines: part one

“…once we’re seen, that’s not enough anymore. After that, we want to be remembered.”

Part of the novel’s ambition is that while it’s set 20 years after the apocalyptic Georgia Flu, it constantly reaches decades into the past to search for meaning. In particular, the novel’s central character is Arthur Leander , an actor whose death coincides with the breakout of the Flu. Tracing his origins from obscurity to fame, Mandel juxtaposes his philandering and untrustworthy behaviour with repeated attempts to be a better person, or perhaps just be more true to himself, before his death. We’ll eventually see that many of his actions have consequences years into the future.

Arguably equally important in legacy is his first wife, Miranda Carroll , whose comics lend the novel its title. Take this with a grain of salt—she’s kind of my favourite character—but the time and energy she invests in the Station Eleven comics are arguably the most valuable investment of the novel. Her comics survive her in the years following the Flu, and are a source of escape and purpose for others just as they had been for herself.

Both of these characters come into contact with Jeevan Chaudhary , a paparazzo and journalist who regularly follows Arthur though his career, photographing Miranda in a vulnerable moment before her divorce, and booking an interview with Arthur years later as he plans to leave his second wife Elizabeth Colton . We see Jeevan struggle with his purpose in life throughout the novel, though it can be said that he ultimately finds it after the Flu, when he is working as a medic.

Finally, there’s Clark Thompson , Arthur’s friend from college who remains loyal, though not necessarily uncritical, of him all throughout his life. As the Flu first arrives in America, Clark is just leaving for Toronto, but a Flu outbreak there causes his flight to be redirected to Severn City Airport, where he and others miraculously survive in what will become a key setting of the novel.

A tale of two timelines: part two

‍ “I stood looking over my damaged home and tried to forget the sweetness of life on Earth.”

All of this finally puts us in a position to think analytically about characters in the ‘present’ timeline, that is, 20 years after the Flu. We experience the present mostly through the perspective of Kirsten Raymonde , a performer who survived the Flu as a young child. Because she was so young when it happened, many of the traumas she experienced have been erased by her mind, and she struggles to piece together what she lost in a quest for identity and meaning, largely driven by her vague memories of Arthur. She travels with the Travelling Symphony with others such as Alexandra , August and the conductor —they have collectively adopted the motto, “survival is insufficient.”

Through the story, they are pursued by the prophet , later revealed to be Tyler Leander , the child of Arthur and Elizabeth who survived and grew up in the decades following the Flu outbreak. A religious extremist, he becomes the leader of a cult of fanatics who amass weapons and conquer towns by force. Both Kirsten and Tyler pursue the Station Eleven comics, quoted above—they each possess a copy, and resonate strongly with the struggles of the characters created by Miranda.

(CW: suicide) Also important is Jeevan’s brother, Frank , a paraplegic author who was writing about a philanthropist in the last days before his death, whereby he kills himself so as to give his brother a better chance of surviving. While he isn’t a particularly major character, his writing on morality and mortality (quoted with the first batch of characters) are symbolically and thematically important.

By the way, to download a PDF version of this blog for printing or offline use, click here !

“That’s what passes for a life…that’s what passes for happiness, for most people…they’re like sleepwalkers…”

These characters already speak to some of the major themes that formulate the novel. On one hand, Mandel explores various meanings of contemporary or modern civilisation . We live in a technology-driven age where constraints of time and space mean less than ever before. For example, people are mobile through space thanks to airplanes and telephones, and the internet means that any and all information is available to anyone, all the time. Mandel constantly looks back at this society and describes it in terms of our technology: for example, “the era when it was possible to press a series of buttons on a telephone and speak with someone on the far side of the earth.” On one level, she comments on how many of these minor miracles are taken for granted in our every day lives.

On another level, these elements of society also give rise to the culture of celebrity in our lives, as high-profile figures are put under increasing pressure to maintain appearances at all times, and lead increasingly ‘perfect’ lives as a result. These were pressures that Arthur struggled to live up to, and his “failed marriages” accompanied his career at all stages. The flip side of this is that people who follow celebrities, such as Jeevan, lead increasingly emptier and more vacuous lives—and Jeevan is well-aware of this, telling Miranda that he doesn’t seek a greater purpose in life beyond making money. This lack of purpose, this ennui, is something that tints much of society through the eyes of Mandel.

Another major theme which the lives of these characters start to explore is the value of art as a source of purpose. While civilisation is portrayed as fragile and meaningless, art—in all its forms, including creating, reproducing, performing and consuming—is a way for people such as Miranda to understand, process and escape their lives. This theme is arguably the most important, as it tethers different parts of the novel together; even after the apocalypse, people turn to art as a way of understanding and connecting to others as well as to themselves.

‍ “The more you remember, the more you’ve lost.”

Inevitably with this genre, survival and mortality are major themes, as massive populations of people have died and continue to die due to the impacts of the Georgia Flu. To some extent, survivor’s guilt motivates many to search for a deeper meaning to their survival, hence the motto of the Symphony. It also drives them to turn to art as we’ve explored, since bare subsistence isn’t enough to give their lives the meaning they desire. Maybe this is what it means to be human.

On the other hand, the Flu also turns others to religious extremity , as is the case with Elizabeth, Tyler and the rest of their cult. This speaks to broader ideas about faith , fate and spirituality —are there greater forces out there who manipulate events in our world? Certainly, there are enough coincidences in the novel for this theory to be valid; even just Kirsten and Tyler both having copies of Station Eleven and both acting under the influence of Arthur is so coincidental.

However, perhaps the most important theme here is memory . Mandel ultimately puts this as the central question to readers: is memory more of a blessing or a burden? Is it preferable to remember everything you’ve lost, or be ignorant of it all? I’m not sure she really answers this one, to be honest. Various symbols—and even the constantly shifting narrative perspective—evoke the epic sense of loss in the apocalypse, and yet encountering characters like Alexandra, who never really knew what the internet was, makes you rethink that loss; perhaps it is better to have experienced the internet at all.

‍ “People want what was best about the world”

There’s a category of symbols in the novel that represent memories of technology. Consider the discarded phones and credit cards in the Museum of Civilisations, all mementos of what the world lost. Note that, given Mandel’s ambivalent commentary about modern society, not all that was lost is bad—the credit card embodies the materialism and consumerism that drive our world today, and shedding it may be construed as a form of liberty, in fact.

It is airplanes , however, that serve as the greatest reminder. Their sudden disappearance from the sky becomes a constant reminder of how the world changed, and people still look up in the hopes of seeing an airborne plane; they cling onto the hope that maybe, just maybe, all of this can somehow be reversed. The last flights of the human race—pilots attempting to return home to be with their loved ones—are also made in hope, though their outcomes are consistently unclear.

In this sense, airplanes can also be seen as a source of fading hope, or rather, despair. For one, it was the very mobility afforded by planes which caused the Flu to spread around the world so rapidly. Now, confined to the ground forever, they represent the immobility of humans in the present. They also take on meanings of death, and in particular, the final airplane that landed at Severn City Airport, quarantined with people still on board, represents the difficult decisions that have to be made in order to survive. The mausoleum plane also pushes Tyler further into religious extremism, as he reads the bible to the now-artefact in an attempt to justify the deaths of everyone on board.

These symbols highlight the jarring difference between the world before and after the Flu, but on the other hand, there are also symbols which connect the two worlds; the importance of print cannot be underemphasised here. Anything that was printed—photographs, comics, TV guides, books—are all enduring sources of knowledge and comfort for Flu survivors, and basically become the only way for children born after the Flu to remember our world, a world that they never actually lived in.

The following essay topics are extracted from our Station Eleven Study Guide: A Killer Text Guide:

• “First, we only want to be seen, but once we’re seen, that’s not enough anymore. After that, we want to be remembered.” Characters from Station Eleven who die with the Georgia Flu are immortalised in memories, also greatly influencing events two decades later. Discuss.
• Explore the perspectives offered in Station Eleven regarding survival.
• How does St John Mandel highlight the degree of losses caused by the Georgia Flu?
• Kirsten and Tyler are more similar than they are different. To what extent do you agree?
• The use of shifting narrative perspective in Station Eleven is crucial to its storytelling effect. Discuss. ‍
• Station Eleven suggests that beauty can be found in unlikely places. Do you agree?
• Some forms of technology have been rendered unusable in Station Eleven ’s Year Twenty—discuss the new purpose/s of these forms of technology.
• The memories of characters in Station Eleven ’s Year Twenty have been distorted over time. Is this true?
• It is impossible to feel any sympathy for the prophet. To what extent do you agree?
• “God, why won’t our phones work? I so wish I could tweet this…just chilling with Arthur Leander’s kid at the end of the world.” Station Eleven is a critique of modern society’s obsession with celebrity. Discuss.
• How do various forms of art play a central role in Station Eleven ?
• Fame and anonymity are shown to be equally intoxicating in Station Eleven . Do you agree? ‍
• Station Eleven demonstrates that events that seem insignificant can have remarkable consequences in the future. Discuss.
• Throughout Station Eleven ’s various timelines, innocence is always inevitably lost. Is this a fair statement?
• Arthur Leander and his son are equally contemptible yet tragic at the same time. Do you agree?

Head over to our Station Eleven Study Guide for more sample essay topics, so you can practice writing essays using the analysis you've learnt from this blog!

A+ Essay Topic Breakdown

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

Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Have a watch of this video to see how we broke down an essay topic:

Although this is something that might be a little more text-specific, the main takeaway of today’s video is to be flexible in how you mentally arrange a text’s plot. This is especially handy in stories that are non-linear, so stories that flip between perspectives or timelines, as this one does. Being across a text like this will give you greater flexibility in putting together your ideas. I think this might be clearer if I just show you!

In the meantime though, let’s have a bit of a chat about the text.

Station Eleven is Emily St John Mandel’s take on the tried-and-tested sub-genre of post-apocalyptic science fiction. Only, her attempt doesn’t actually explore new forms of technology, nor the immediate action-packed grab-and-dash that we normally associate with an apocalypse. Instead, she takes us two decades down the track to look at how human society has changed as a result. She also highlights some elements of society that are eternal and timeless, that survive and persevere no matter what.

Today’s topic is:

Despite his virtues, Arthur Leander is essentially a bad man. Do you agree?

If you’re familiar with what we do at LSG, you might be familiar with our Five Types strategy. Basically, it’s a method for students to group categorise prompts into types, and by doing so, you get an immediate idea of how to approach an essay question and some things that you must include, along with things you mustn’t.

And out of the 5 types, this prompt is character-based, through and through. It poses us the difficult task of deciphering the ethics and morality of an individual in the text. Immediately, if you write on this prompt, you must know Arthur pretty damn well! It pays to be strategic — if you don’t know Arthur all that in a SAC or exam, pick another question if possible.

The key words in this one are fairly self-explanatory. You’ve got “ virtues ” on the one hand, which basically refers to being good or having good morals , and “ bad man ” on the other. What’s important is how we define them in the context of the essay, so we need to consider the ways in which Arthur is both virtuous and bad and make sure these are clear in our intro.

Also, the prompt is suggesting that Arthur Leander is ‘bad’ at his core, because of the word “ essentially .” This is the part where there’s a little bit of room to challenge, since there is a lot of evidence that might suggest he isn’t all bad.

Before we dive into the plan, you might want to pause here for a minute and write down what you find to be Arthur’s top two virtues and worst two flaws. Go on, do it!

For me, I think that he’s ambitious and determined in his career, and he can be kind to others in his personal life. However, he also has a philandering or womanising side , and can be neglectful of his family and friends. I would also consider whether or not his legacy was favourable , unflattering , or mixed . Did he leave behind more positivity in the world, or less, when he died?

Let’s arrange this into paragraphs.

Paragraph one

Arthur is flawed in the way he treats others, manifested in his inconsiderate actions, misogynistic tendencies and raising of Tyler.

I think it’d be hard to argue that Arthur is a flawless character whom it would be unfair to call “bad.” We know that Arthur was unfaithful, and many saw his life as being “summed up in a series of failed marriages. ” We know that he treats women as interchangeable objects rather than as people, not only his wives but also his childhood friend Victoria. We also know that he neglects his children, missing Tyler’s birthday for work, as well as his friends, with his increasingly disingenuous and strained relationship with Clark.

In terms of mentally rearranging elements of the story, it might be worth noting here how his bad traits manifested in his son, Tyler. Making a connection between these two timelines may help us realise that in many ways, Tyler is just a more perverse version of his father—he too treats women like possessions, and doesn’t really have a family so much as a community of followers.

Paragraph two

Arguably, Arthur’s selfish traits stem from his Hollywood fame, career and lifestyle.

Fundamentally, he was never this flaky, unreliable person before he was swept away by fame. From a young age, he was determined that he was “going to be an actor and…going to be good,” and the drive with which he pursues this career is undoubtedly virtuous and admirable. Along the way, he offers Miranda a way out of her abusive and one-sided relationship, validating her own “pursuit of happiness.”

So looking at the ‘bookends’ of Arthur’s life, it can be argued that he’s actually essentially a good person. Before Hollywood taints him, and after he realises how much he has been tainted, Arthur does actually demonstrate a lot of virtue.

Paragraph three

However, overall, Arthur leaves behind a positive legacy that reflects that despite his shortcomings, he is fundamentally a good man who has been tainted by immoral habits and attitudes.

Here, the discussion surrounds Arthur’s legacy—is he remembered as a good person? In what ways does Arthur live on? The photographs that Kirsten finds along her journey depict Arthur shielding Miranda from the paparazzi and spending time with his son, and these are lasting memories of his virtues which haven’t been destroyed by the Flu. Consider also the “ whispers ” and “ glances ” that plagued him during his life, and we can’t help but wonder what kind of man he would’ve been in a world with less people and less scrutiny.

And there you have it! Hopefully, you can see what I meant at the start about rearranging bits of the book. For example, these photographs belong in Kirsten’s timeline and are discovered through her point of view, but there isn’t any reason why you can’t connect them to elements of Arthur’s character more broadly. Also, even just by looking at the start and end of Arthur’s life without the middle changes how we interpret him as a character. It’s this kind of flexibility that will serve you well in this text study.

If you'd like to see an A+ essay on the essay topic above, complete with annotations on HOW and WHY the essays achieved A+ so you can emulate this same success, then you'll definitely want to check out our Station Eleven Study Guide: A Killer Text Guide! In it, we also cover themes, characters, views and values, metalanguage and have 4 other sample A+ essays completely annotated so you can smash your next SAC or exam! Check it out here .

For more Station Eleven writing samples, you might like to take a look at this blog post , which compares three different paragraphs and analyses how they improve upon one another.

Extra Resources

Download a PDF version of this blog for printing or offline use

The Ultimate guide to VCE Text Response

How To Write A Killer Text Response Study Guide

How to embed quotes in your essay like a boss

How to turn your Text Response essays from average to A+

5 Tips for a mic drop worthy essay conclusion

Hey everyone! This is Part 2 in a series of videos I will release on VCE Study Guides. The content goes through the sample VCAA Chickens Range Free article which you can find  here . Feel free to analyse it yourself, then check out how I’ve analysed the article!

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Language Analysis is often the  key weakness  for VCE English/EAL students, after my workshops, students always wish we had spent  even   more  time on Language Analysis, many of you have come to me seeking private tuition however since I am fully booked out, I wanted to still offer you a chance to gain access to my ‘breakthrough’ method of tutoring Language Analysis,I am absolutely confident in my  unique  and  straightforward  way of teaching Language Analysis which has lead to my students securing exceptional A graded SAC and exam scores!

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Introduction

Sentence stems are an effective tool that learners can use to develop their communication skills, improve comprehension, and enhance critical thinking. In this article, we will discuss how to use sentence stems and provide over 60 examples that can be personalized and adapted as per the specific learning context.

What are Sentence Stems?

Sentence stems are predetermined phrases designed to facilitate responses in discussions, writing assignments, or self-reflection. They allow learners to organize their thoughts and express themselves effectively while promoting quality engagement and deeper thinking across various subjects.

How to Use Sentence Stems

1. Choose relevant stems: Select stems that fit your subject area or learning objectives. For instance, if the goal is to encourage critical analysis in literature, choose sentence stems that require learners to analyze texts by comparing themes, characters, or plots.

2. Introduce them gradually: Introduce sentence stems progressively so that students have time to practice using them naturally and effectively. This can be done by incorporating one or two at a time into discussions or activities.

3. Model using sentence stems: Demonstrate how sentence stems can be used by providing examples during class sessions and incorporating them into your feedback on student work.

4. Encourage students’ use: Create opportunities for students to use sentence stems during group discussions or individual writing tasks. Utilize prompts that encourage reflection or debate requiring the use of these predetermined phrases.

5. Track progress: Monitor the students’ use of sentence stems over time and provide feedback and reinforcement on areas where they may need further assistance.

60+ Sentence Stem Examples for Every Subject

Mathematics:

1. “I noticed a pattern when I saw…”

2. “The formula changes if we…”

3. “My solution is different because…”

4. “Based on my observation, I predict…”

5. “This experiment demonstrated…”

6. “One way to classify this organism is…”

Social Studies:

7. “An important event in this time period was…”

8. “This primary source reveals…”

9. “A significant cultural difference is…”

Literature:

10. “A central theme in this story appears to be…”

11. “The author’s use of symbolism is evident when…”

12. “An interesting character trait of (character) is…”

13. “In my introduction, I will discuss…”

14. “To support my argument, I will provide evidence from…”

15. “My conclusion effectively summarizes my main points by…”

Reading Comprehension:

16. “The purpose of the author is to convey that…”

17. “The passage suggests that the character feels…”

18. “A significant turning point in the text occurs when…”

Critical Thinking:

19. “An alternative perspective on this issue might be…”

20. “This argument could be supported by considering…”

21. “One possible implication of this idea is…”

Self-Reflection:

22. “I feel more confident in my understanding of this subject because…”

23. “One aspect that challenged me during this exercise was…”

24. “To improve, I need to focus more on…”

Sentence stems provide a supporting structure that enables students to articulate their thoughts meaningfully and foster critical thinking skills across varied subjects and learning contexts. By incorporating sentence stems into your teaching methodology, you can help your learners become more confident communicators and reflective thinkers, and enhance their overall academic development.

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Argumentative Essay – Outline, Form, and Examples

What is an argumentative essay?

An argumentative essay requires the writer to investigate a specific topic by collecting and evaluating evidence to establish a position on the subject matter.

When preparing to compose a good argumentative essay, utilize the following steps:

Step 1: Select a topic.

Step 2: Identify a position.

Step 3: Locate appropriate resources.

Step 4: Identify evidence supporting the position. ( NOTE: If there is little evidence in support of the claim, consider re-examining the main argument.)

When gathering evidence, use credible sources . To determine the credibility of the source, consider authority, currency, accuracy, and objectivity:

Who is the author ? Are they an expert in the field? Has a reputable publisher published the work?

How current is the information in the source? Does the currency of the source matter? Does the age of the source impact the content? Is there newer information that disproves the source’s information?

Can other sources verify the accuracy of the information? Does the information contradict that found in other commonly accepted sources?

Is there any evidence of bias, or is the source objective ? Is the research sponsored by an organization that may skew the information?

The following are typically recognized as providing appropriate, credible research material:

Peer-reviewed journals/research papers

Government agencies

Professional organizations

Library databases

Reference books

Writers should avoid using the following sources:

Social media posts

Out-of-date materials

Step 5: Utilize the research to determine a thesis statement that identifies the topic, position, and support(s).

Step 6: Use the evidence to construct an outline, detailing the main supports and relevant evidence.

Argumentative essay outline

After gathering all of the necessary research, the next step in composing an argumentative essay focuses on organizing the information through the use of an outline:

Introduction

Attention Grabber/Hook

Background Information: Include any background information pertinent to the topic that the reader needs to know to understand the argument.

Thesis: State the position in connection to the main topic and identify the supports that will help prove the argument.

Topic sentence

Identify evidence in support of the claim in the topic sentence

Explain how the evidence supports the argument

Evidence 3 (Continue as needed)

Support 2 (Continue as needed)

Restate thesis

Review main supports

Concluding statement

Invite the audience to take a specific action.

Identify the overall importance of the topic and position.

How to write an argumentative essay

Regardless of the writer’s topic or point of view, an argumentative essay should include an introductory paragraph, body paragraphs, a conclusion, and works cited.

Background information

Body Paragraphs

Analysis of evidence

Rephrased thesis

Review of main ideas

Call to action

Works Cited

Argumentative essay introduction

The introduction sets the tone for the entire paper and introduces the argument. In general, the first paragraph(s) should attract the reader’s attention, provide relevant context, and conclude with a thesis statement.

To attract the reader's attention , start with an introductory device. There are several attention-grabbing techniques, the most common of which consist of the following:

The writer can emphasize the topic’s importance by explaining the current interest in the topic or indicating that the subject is influential.

Pertinent statistics give the paper an air of authority.

There are many reasons for a stimulating statement to surprise a reader. Sometimes it is joyful; sometimes it is shocking; sometimes it is surprising because of who said it.

An interesting incident or anecdote can act as a teaser to lure the reader into the remainder of the essay. Be sure that the device is appropriate for the subject and focus of what follows.

Provide the reader with relevant context and background information necessary to understand the topic.

Conclude with a thesis statement that identifies the overall purpose of the essay (topic and position). Writers can also include their support directly in the thesis, which outlines the structure of the essay for the reader.

Avoid the following when writing the introduction to argumentative writing:

Starting with dictionary definitions is too overdone and unappealing.

Do not make an announcement of the topic like “In this paper I will…” or “The purpose of this essay is to….”

Evidence supporting or developing the thesis should be in the body paragraphs, not the introduction.

Beginning the essay with general or absolute statements such as “throughout history...” or “as human beings we always...” or similar statements suggest the writer knows all of history or that all people behave or think in the same way.

Argumentative essay thesis

The thesis statement is the single, specific claim the writer sets out to prove and is typically positioned as the last sentence of the introduction . It is the controlling idea of the entire argument that identifies the topic, position, and reasoning.

When constructing a thesis for an argumentative paper, make sure it contains a side of the argument, not simply a topic. An argumentative thesis identifies the writer’s position on a given topic. If a position cannot be taken, then it is not argumentative thesis:

Topic: Capital punishment is practiced in many states.

Thesis: Capital punishment should be illegal.

While not always required, the thesis statement can include the supports the writer will use to prove the main claim. Therefore, a thesis statement can be structured as follows:

TOPIC + POSITION (+ SUPPORTS)

No Supports: College athletes (TOPIC) should be financially compensated (POSITION).

Supports: College athletes (TOPIC) should be financially compensated (POSITION) because they sacrifice their minds and bodies (SUPPORT 1), cannot hold

Argumentative essay body paragraphs

Body paragraphs can be of varying lengths, but they must present a coherent argument unified under a single topic. They are rarely ever longer than one page, double-spaced; usually they are much shorter.

Lengthy paragraphs indicate a lack of structure. Identify the main ideas of a lengthy paragraph to determine if they make more sense as separate topics in separate paragraphs.

Shorter paragraphs usually indicate a lack of substance; there is not enough evidence or analysis to prove the argument. Develop the ideas more or integrate the information into another paragraph.

The structure of an argumentative paragraph should include a topic sentence, evidence, and a transition.

The topic sentence is the thesis of the paragraph that identifies the arguable point in support of the main argument. The reader should know exactly what the writer is trying to prove within the paragraph by reading the first sentence.

The supporting evidence and analysis provide information to support the claim. There should be a balance between the evidence (facts, quotations, summary of events/plot, etc.) and analysis (interpretation of evidence). If the paragraph is evidence-heavy, there is not much of an argument; if it is analysis-heavy, there is not enough evidence in support of the claim.

The transition can be at the beginning or the end of a paragraph. However, it is much easier to combine the transition with the concluding observation to help the paragraphs flow into one another. Transitions in academic writing should tell the reader where you were, where you are going, and relate to the thesis.

Some essays may benefit from the inclusion of rebuttals to potential counterarguments of the writer’s position.

Argumentative essay conclusion

The conclusion should make readers glad they read the paper. It can suggest broader implications that will not only interest readers but also enrich their understanding in some way. There are three aspects to follow when constructing the conclusion: rephrase the thesis, synthesize information, and call the reader to action.

Rephrased the thesis in the first sentence of the conclusion. It must be in different words; do not simply write it verbatim.

Synthesize the argument by showing how the paper's main points support the argument.

Propose a course of action or a solution to an issue. This can redirect the reader's thought process to apply the ideas to their life or to see the broader implications of the topic.

Avoid the following when constructing the conclusion:

Beginning with an unnecessary, overused phrase such as "in conclusion," "in summary," or "in closing;" although these phrases can work in speeches, they come across as trite in writing

Introducing a new idea or subtopic in the conclusion

Making sentimental, emotional appeals that are out of character with the rest of the paper

Including evidence (quotations, statistics, etc.) that should be in the body of the paper

Argumentative essay examples

Examples of argumentative essays vary depending upon the type:

Academic essays differ based upon the topic and position. These essays follow a more traditional structure and are typically assigned in high school or college. Examples of academic argumentative essay topics include the following:

Advantages or disadvantages of social media

Animal testing

Art education

Benefit or detriment of homework

Capital punishment

Class warfare

Immigration

School uniforms

Universal healthcare

Violence in video games

Argumentative literary essays are typically more informal and do not follow the same structure as an academic essay. The following are popular examples of argumentative literary essays:

“Letter from Birmingham Jail” by Martin Luther King, Jr.

“Death of the Moth” by Virginia Woolf

“Shooting an Elephant” by George Orwell

“Thoughts for the Times on War and Death” by Sigmund Freud

“Does the Truth Matter? Science, Pseudoscience, and Civilization” by Carl Sagan

“Self-Reliance” by Ralph Waldo Emerson

EL Education Curriculum

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• ELA 2019 G8:M2:U3:L10

Write a Practice Argument Essay: Analyze and Draft a Conclusion

In this lesson, daily learning targets, ongoing assessment.

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Supporting English Language Learners

Materials from previous lessons, new materials, closing & assessments, you are here:.

• ELA 2019 Grade 8
• ELA 2019 G8:M2
• ELA 2019 G8:M2:U3

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Focus Standards:  These are the standards the instruction addresses.

• W.8.1, W.8.1e, W.8.4, W.8.5, W.8.10

Supporting Standards:  These are the standards that are incidental—no direct instruction in this lesson, but practice of these standards occurs as a result of addressing the focus standards.

• RI.8.1, RI.8.4, RI.8.10, W.8.6, SL.8.1, SL.8.4, L.8.4, L.8.6
• I can identify the purpose of each part of the conclusion paragraph of a model argument essay. ( W.8.1e )
• I can write the conclusion of my practice argument essay. ( W.8.1e, W.8.4 )
• Opening: Entrance Ticket: Unit 3, Lesson 10 ( W.8.1 )
• Work Time A: Annotated Model Essay ( W.8.1e )
• Work Time B: Conclusion of Practice Argument Essay ( W.8.1e, W.8.4 )
• Prepare Entrance Ticket: Unit 3, Lesson 10 (one per student), and ensure there is a copy at each student's workspace.
• Review the Argument Writing checklist to become familiar with what will be required of students over the remainder of the unit.
• Post the learning targets and applicable anchor charts (see Materials list).

Tech and Multimedia

• Work Time C: Prepare devices with word-processing capabilities for students to continue drafting.
• Continue to use the technology tools recommended throughout previous modules to create anchor charts to share with families; to record students as they participate in discussions and protocols to review with students later and to share with families; and for students to listen to and annotate text, record ideas on note-catchers, and word-process writing.

Supports guided in part by CA ELD Standards 8.I.C.11 and 8.I.C.12.

Important Points in the Lesson Itself

• To support ELLs, this lesson follows a sequence that closely mirrors that of previous lessons, which will help students to focus on the tasks at hand. Students analyze the conclusion of the model essay and then draft conclusions for the practice argument essay. During Closing and Assessment A, students give one another feedback. This offers an opportunity for supportive learning, as well as meaningful oral skills practice.
• ELLs may find it challenging to articulate their thoughts on Entrance Ticket: Unit 3, Lesson 10 . ELLs may also find it difficult to write a strong conclusion, depending on the strength of the rest of their essays. Prioritize discussion and peer feedback portions of the lesson to build a supportive environment for students as they take on this work. Remind students to be respectful of one another's progress, and invite students to offer suggestions and feedback that is kind, helpful, and specific.
• Characteristics of Argument Writing anchor chart (example for teacher reference) (from Module 2, Unit 3, Lesson 4, Closing A)
• Characteristics of Argument Writing anchor chart (one for display; from Module 2, Unit 3, Lesson 4, Closing A)
• Painted Essay® template (one per student; from Module 1, Unit 3, Lesson 6, Work Time B)
• Model Essay: “Transportation Choices” (one per student; from Module 2, Unit 3, Lesson 4, Work Time A)
• Argument Writing checklist (one per student; from Module 2, Unit 3, Lesson 5)
• Practice Argument Essay Writing Plan graphic organizer (one per student; from Module 2, Unit 3, Lesson 5, Work Time C)
• The Omnivore’s Dilemma (one per student; Module 2, Unit 1, Lesson 1, Closing and Assessment A)
• Independent reading journals (one per student; begun in Module 1, Unit 1, Lesson 6, Work Time B)
• Entrance Ticket: Unit 3, Lesson 10 (example for teacher reference)
• Entrance Ticket: Unit 3, Lesson 10 (one per student)
• Devices (one per student; see Technology and Multimedia)
• Sticky note (one per student)

Each unit in the 6-8 Language Arts Curriculum has two standards-based assessments built in, one mid-unit assessment and one end of unit assessment. The module concludes with a performance task at the end of Unit 3 to synthesize students' understanding of what they accomplished through supported, standards-based writing.

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How To Use Sentence Stems (Plus 60+ Examples for Every Subject)

Sentence stems help students …

Some students have no trouble expressing their thoughts, whether verbally or in writing. Others, though, need some help to get started. Sentence stems—sometimes called sentence starters, sentence frames, or thinking stems—help them do just that. Here’s how they work.

How To Use Sentence Stems

Provide all students with a list of sentence stems they can use during discussions or when they’re writing. For fluent writers or speakers, these stems may not be necessary, but they’re always helpful to have on hand. You can give kids a handout, or post an anchor chart for them to refer back to.

Be sure to model them for kids, showing how to fill in the blanks. Practice both out loud and in writing, providing your own example and then asking for their take. It’s OK if they simply fill in the blanks when they first start using these stems. But over time, students should use them more as a jumping-off point, to delve deeper into the topic.

Tip: Don’t require sentence stems if students don’t need them. Some kids will do just fine having a discussion on their own, or getting started on a writing assignment. But encourage others to use them as much as they need to. Eventually, these stems will become automatic, giving students tools to help them become better communicators.

Language Arts Sentence Stems

• The author used this technique because …
• The narrator is reliable/unreliable because …
• Characters in this story started out … but changed to …

• The theme of this story is … which is shown by …
• This story reminds me of …
• If could change the end of this story, I would …
• I liked/disliked this character because …
• This story made me feel … when …
• [Character] and [character] are alike/different because …
• My favorite part was …
• The author wants us to believe …

• Based on this text …
• The author proves their point by saying …
• I didn’t understand why …
• When I read … what I pictured in my head was …

Social Studies Sentence Stems

• These events are alike/different because …

• If this happened today …
• If I lived then, I would have …
• This happened because …
• The effects of this were …
• I agree/disagree with … because …

• I was surprised to learn …
• I don’t understand why …
• History repeated itself when …
• I feel inspired by …

 Science Sentence Stems

• The data shows …
• This experiment proved … because …
• I believe … will happen because …
• I expect to see …

• The cause of this is …
• The effect of this is …
• I was surprised when …
• We can find out by …
• We could change the outcome by …
• I discovered …
• The pattern I observed was …

• My results show …
• I predict … because …
• The experiment was a success/failure because …

Math Sentence Stems

• To solve this problem, I need to …
• The important information is …
• I can check my work by …
• Another way to solve this problem is …

• First I … Then I … Finally I …
• I found the answer by …
• This problem reminded me of …
• I can use this skill in real life when …
• I got the wrong answer because …
• This solution makes/doesn’t make sense because …

Discussion Sentence Stems

• When you said … I felt …
• I used to think … Now I think …
• I feel … when …

• We are alike/different because …
• I respect your opinion, but I disagree because …
• From my point of view …
• What I’m hearing you say is …

• If that happened to me, I would …
• What if we …
• I need some help with …

How do you use sentence stems? Come share your thoughts and ask for advice in the WeAreTeachers HELPLINE group on Facebook .

Plus, 40 must-have anchor charts for teaching writing of all kinds ., you might also like.

40 Must-Have Anchor Charts for Teaching Writing of All Kinds

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9.3: The Argumentative Essay

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Learning Objectives

• Examine types of argumentative essays

Argumentative Essays

You may have heard it said that all writing is an argument of some kind. Even if you’re writing an informative essay, you still have the job of trying to convince your audience that the information is important. However, there are times you’ll be asked to write an essay that is specifically an argumentative piece.

An argumentative essay is one that makes a clear assertion or argument about some topic or issue. When you’re writing an argumentative essay, it’s important to remember that an academic argument is quite different from a regular, emotional argument. Note that sometimes students forget the academic aspect of an argumentative essay and write essays that are much too emotional for an academic audience. It’s important for you to choose a topic you feel passionately about (if you’re allowed to pick your topic), but you have to be sure you aren’t too emotionally attached to a topic. In an academic argument, you’ll have a lot more constraints you have to consider, and you’ll focus much more on logic and reasoning than emotions.

Argumentative essays are quite common in academic writing and are often an important part of writing in all disciplines. You may be asked to take a stand on a social issue in your introduction to writing course, but you could also be asked to take a stand on an issue related to health care in your nursing courses or make a case for solving a local environmental problem in your biology class. And, since argument is such a common essay assignment, it’s important to be aware of some basic elements of a good argumentative essay.

When your professor asks you to write an argumentative essay, you’ll often be given something specific to write about. For example, you may be asked to take a stand on an issue you have been discussing in class. Perhaps, in your education class, you would be asked to write about standardized testing in public schools. Or, in your literature class, you might be asked to argue the effects of protest literature on public policy in the United States.

However, there are times when you’ll be given a choice of topics. You might even be asked to write an argumentative essay on any topic related to your field of study or a topic you feel that is important personally.

Whatever the case, having some knowledge of some basic argumentative techniques or strategies will be helpful as you write. Below are some common types of arguments.

Causal Arguments

• In this type of argument, you argue that something has caused something else. For example, you might explore the causes of the decline of large mammals in the world’s ocean and make a case for your cause.

Evaluation Arguments

• In this type of argument, you make an argumentative evaluation of something as “good” or “bad,” but you need to establish the criteria for “good” or “bad.” For example, you might evaluate a children’s book for your education class, but you would need to establish clear criteria for your evaluation for your audience.

Proposal Arguments

• In this type of argument, you must propose a solution to a problem. First, you must establish a clear problem and then propose a specific solution to that problem. For example, you might argue for a proposal that would increase retention rates at your college.

Narrative Arguments

• In this type of argument, you make your case by telling a story with a clear point related to your argument. For example, you might write a narrative about your experiences with standardized testing in order to make a case for reform.

Rebuttal Arguments

• In a rebuttal argument, you build your case around refuting an idea or ideas that have come before. In other words, your starting point is to challenge the ideas of the past.

Definition Arguments

• In this type of argument, you use a definition as the starting point for making your case. For example, in a definition argument, you might argue that NCAA basketball players should be defined as professional players and, therefore, should be paid.

https://assessments.lumenlearning.co...essments/20277

Essay Examples

• Click here to read an argumentative essay on the consequences of fast fashion . Read it and look at the comments to recognize strategies and techniques the author uses to convey her ideas.
• In this example, you’ll see a sample argumentative paper from a psychology class submitted in APA format. Key parts of the argumentative structure have been noted for you in the sample.

Link to Learning

For more examples of types of argumentative essays, visit the Argumentative Purposes section of the Excelsior OWL .

Contributors and Attributions

• Argumentative Essay. Provided by : Excelsior OWL. Located at : https://owl.excelsior.edu/rhetorical-styles/argumentative-essay/ . License : CC BY: Attribution
• Image of a man with a heart and a brain. Authored by : Mohamed Hassan. Provided by : Pixabay. Located at : pixabay.com/illustrations/decision-brain-heart-mind-4083469/. License : Other . License Terms : pixabay.com/service/terms/#license

Topic sentences and signposts make an essay's claims clear to a reader. Good essays contain both.  Topic sentences   reveal the main point of a paragraph. They show the relationship of each paragraph to the essay's thesis, telegraph the point of a paragraph, and tell your reader what to expect in the paragraph that follows. Topic sentences also establish their relevance right away, making clear why the points they're making are important to the essay's main ideas. They argue rather than report.  Signposts , as their name suggests, prepare the reader for a change in the argument's direction. They show how far the essay's argument has progressed vis-ˆ-vis the claims of the thesis. 

Topic sentences and signposts occupy a middle ground in the writing process. They are neither the first thing a writer needs to address (thesis and the broad strokes of an essay's structure are); nor are they the last (that's when you attend to sentence-level editing and polishing). Topic sentences and signposts deliver an essay's structure and meaning to a reader, so they are useful diagnostic tools to the writer—they let you know if your thesis is arguable—and essential guides to the reader

Forms of Topic Sentences

 Sometimes topic sentences are actually two or even three sentences long. If the first makes a claim, the second might reflect on that claim, explaining it further. Think of these sentences as asking and answering two critical questions: How does the phenomenon you're discussing operate? Why does it operate as it does?

There's no set formula for writing a topic sentence. Rather, you should work to vary the form your topic sentences take. Repeated too often, any method grows wearisome. Here are a few approaches.

Complex sentences.   Topic sentences at the beginning of a paragraph frequently combine with a transition from the previous paragraph. This might be done by writing a sentence that contains both subordinate and independent clauses, as in the example below.

 Although  Young Woman with a Water Pitcher  depicts an unknown, middle-class woman at an ordinary task, the image is more than "realistic"; the painter [Vermeer] has imposed his own order upon it to strengthen it. 

This sentence employs a useful principle of transitions: always move from old to new information.  The subordinate clause (from "although" to "task") recaps information from previous paragraphs; the independent clauses (starting with "the image" and "the painter") introduce the new information—a claim about how the image works ("more than Ôrealistic'") and why it works as it does (Vermeer "strengthens" the image by "imposing order"). 

Questions.   Questions, sometimes in pairs, also make good topic sentences (and signposts).  Consider the following: "Does the promise of stability justify this unchanging hierarchy?" We may fairly assume that the paragraph or section that follows will answer the question. Questions are by definition a form of inquiry, and thus demand an answer. Good essays strive for this forward momentum.

Bridge sentences.   Like questions, "bridge sentences" (the term is John Trimble's) make an excellent substitute for more formal topic sentences. Bridge sentences indicate both what came before and what comes next (they "bridge" paragraphs) without the formal trappings of multiple clauses: "But there is a clue to this puzzle." 

Pivots.   Topic sentences don't always appear at the beginning of a paragraph. When they come in the middle, they indicate that the paragraph will change direction, or "pivot." This strategy is particularly useful for dealing with counter-evidence: a paragraph starts out conceding a point or stating a fact ("Psychologist Sharon Hymer uses the term Ônarcissistic friendship' to describe the early stage of a friendship like the one between Celie and Shug"); after following up on this initial statement with evidence, it then reverses direction and establishes a claim ("Yet ... this narcissistic stage of Celie and Shug's relationship is merely a transitory one. Hymer herself concedes . . . "). The pivot always needs a signal, a word like "but," "yet," or "however," or a longer phrase or sentence that indicates an about-face. It often needs more than one sentence to make its point.

Signposts operate as topic sentences for whole sections in an essay. (In longer essays, sections often contain more than a single paragraph.) They inform a reader that the essay is taking a turn in its argument: delving into a related topic such as a counter-argument, stepping up its claims with a complication, or pausing to give essential historical or scholarly background. Because they reveal the architecture of the essay itself, signposts remind readers of what the essay's stakes are: what it's about, and why it's being written. 

Signposting can be accomplished in a sentence or two at the beginning of a paragraph or in whole paragraphs that serve as transitions between one part of the argument and the next. The following example comes from an essay examining how a painting by Monet,  The Gare Saint-Lazare: Arrival of a Train,  challenges Zola's declarations about Impressionist art. The student writer wonders whether Monet's Impressionism is really as devoted to avoiding "ideas" in favor of direct sense impressions as Zola's claims would seem to suggest. This is the start of the essay's third section:

It is evident in this painting that Monet found his Gare Saint-Lazare motif fascinating at the most fundamental level of the play of light as well as the loftiest level of social relevance.  Arrival of a Train  explores both extremes of expression. At the fundamental extreme, Monet satisfies the Impressionist objective of capturing the full-spectrum effects of light on a scene.

 The writer signposts this section in the first sentence, reminding readers of the stakes of the essay itself with the simultaneous references to sense impression ("play of light") and intellectual content ("social relevance"). The second sentence follows up on this idea, while the third serves as a topic sentence for the paragraph. The paragraph after that starts off with a topic sentence about the "cultural message" of the painting, something that the signposting sentence predicts by not only reminding readers of the essay's stakes but also, and quite clearly, indicating what the section itself will contain. 

Copyright 2000, Elizabeth Abrams, for the Writing Center at Harvard University

Argument sentence stems and transition words and phrases

STEM + ELA: The Eight Building Blocks of Argument Writing

When they’ve been swirling around in my head, words never seem to come out the way I intend them to. Writing and getting ideas down on paper has always been a struggle for me. Even for this article, I’ve spent so much time thinking about what to write instead of just writing it all down! The prewriting process can be a challenge for adults, so it must also be for some of our students.

An ELA and STEM Collaboration

I’ve always been a good builder and engineer. And the idea of being able to physically “build” an essay before writing it appealed to me. I could see this as a way to help students get their ideas organized before diving into the task. So after a teacher-led “unconference” about merging engineering and other content areas, I met with an intrigued English teacher who wanted to approach writing differently in her class.  

After a lot of brainstorming, drawing, erasing, sketching, lego construction, and laughter, we landed on a way to make students’ thinking and planning for argumentative writing visible and tangible in English class: 3D-printed blocks.

Organizing Writing Through Building

Students were learning about the foundational elements of argumentative writing, but they were struggling to understand the correct way to structure an argument. As a result, it was difficult for them to see how all the “parts” of the argumentative piece worked together to form a cohesive presentation. 

To bolster student comprehension and confidence, we wanted to create an opportunity for them to literally construct their argument and then get feedback from the teacher before writing the first draft. We were determined to create an engaging, hands-on learning experience for students to help them plan and revise their writing.

We broke down argumentative writing structure into the following parts: 

• Central Idea 
• Thesis 
• Claim 
• Evidence 
• Zoom In/Out Analysis
• Conclusion 

We knew that to help make students’ thinking visible, we had to be deliberate with our design and color choices. So we made our decisions based on the different parts of an argument, their purpose, and their relationship within the argumentative writing structure. 

Colors were intentionally chosen to both highlight function and relationship to other parts of the argument. For example, the thesis was built to only fit into a claim piece because they are dependent on one another within the argument. The transition was designed as a smaller, red block because it should be a noticeable, short phrase that links two ideas together. The context was designed to fit between the claim and evidence. The central idea became a spindle since it is “the core” of the argument. 

The STEM and Writing Mini-Unit

We planned for our two-week, co-taught, mini-unit to be broken down into eight lessons. 

First, students were exposed to the argumentative writing vocabulary and how the parts of an argumentative essay worked in relationship to each other. After becoming familiar with the vocabulary and parts, they were given the blocks and an argumentative mentor text. They were asked to “build” the argument based on how the author structured it on the page. After building, students compared their argumentative “towers” with their peers while we circulated and gave feedback on their structures. 

After getting teacher feedback and practicing with mentor texts, students began writing their own drafts, using the blocks for support. Then, with a partner, they participated in a peer review activity using their rough drafts. They were asked to build their partner’s essay using the blocks. From there, they gave each other feedback on their text structure about what was strong, missing, unnecessary, or out of order.  

We then, as teachers, shared our design process for the blocks with the students, explained our reasoning behind the design decisions, and asked students for feedback on our designs.

The result? They gave great feedback, encouraging us to:

• Modify the blocks to allow for a notecard with writing to be inserted
• Create different shapes
• Ensure better fitting pieces
• Reconsider color choices. 

We tasked them with designing a better version. Afterwards, students used the upgraded design to work on constructing their final drafts. 

Reflections on the Unit  

We observed that students were invested in the lesson in a way they hadn’t been with writing before. They enjoyed having the ability to physically manipulate objects to assist them in the writing process. The color choices and block fittings also helped them interact with the writing differently. They truly internalized the function of various parts of a written argument. We heard things like, “You can’t have a thesis there because the blocks don’t fit together,” and “The central idea is missing. See, your argument is just falling apart!”.

There were several light bulb moments from the kids, and they began to speak confidently about the connection between the blocks and their writing. We heard, “That makes sense. Transitions should be short because their job is to take you to the next part!” and “The conclusion should have a little bit of everything in it, because it’s white, and white has a little bit of every color in it.” 

Perhaps the most valuable part of the lesson for us was when we described our planning process, and decision making to the students and then handed them an opportunity to design their own, better model. Partnering with the students to bring their writing to life not only helped them deeply internalize argumentative writing but also forged an invaluable learning partnership between us teachers and the kids. It opened a critical dialogue about how students learn best and deepened students’ confidence and trust in themselves and their teachers.

About the Authors:

Erik Murray (left) is a Middle School STEM teacher in Lexington, Massachusetts. His focus has been on making simple, hands-on activities. You can follow him on Twitter at @mrstemurray .

Casey Siagel (right) is a middle school English department head and ELA teacher in Lexington, Massachusetts. She is passionate about making reading and writing accessible and meaningful for all students.

Erik Murray and Casey Siagel

The big list of educational twitter chats, six amazing android math apps, you may also like, story bins: the virtual edition, engage and connect: fun summer activities for students..., seven ready-to-use story bin stem activities, mars mayhem: a disaster card lego challenge, whooo’s reading: beyond multiple choice comprehension questions, blast off into learning: celebrate national astronaut day, make “choose your own adventure” stories with google..., spark creativity in the classroom with story dice, digital reading tools for k-5 readers, earth day ideas to inspire young eco-heroes.

This is an intriguing idea! Is there a more detailed lesson plan that you could share? I’m anxious to try this with my 8th graders. Thank you!

Hi Marta! You can reach out to Erik at @MrSTEmurray on Twitter. He recently made a post looking for collaborators in this activity! https://twitter.com/MrSTEmurray/status/1570764752711995393

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3 Ways to Use Sentence Stems in Middle School

When an esteemed high school advanced placement instructor I know suggested using more sentence stems and writing frames with all levels of middle AND high school students, I was intrigued.

Honestly, the intrigue didn’t actually set in until I got past the what the heck  stage. I couldn’t believe she actually used sentence stems with her advanced placement kids! Weren’t sentence stems too babyish ? Aren’t we always aiming for rigor ? (I know, I hate that word too.)

Well, if sentence stems, or sentence frames, were rigorous enough for AP students, they were rigorous enough for my middle school kids. So I started thinking about the different ways my students could benefit from them.  And after a single day of experimenting with sentence stems, I realized that I should be scaffolding lessons with them more frequently.

Here’s how I started and why they work.

Understanding Language Nuances

Do you know anyone who just totally understands the nuances of language? My husband has that gift. He’ll respond to something I’ve said and I’ll go, “That’s exactly what I just said.”

Then he’ll say, “Not really. You said blah blah, and I said bla bla. It’s a little different because…”

And I immediately understand that what he said was different in a meaningful way.

Show off. 😉

I noticed that some of my students weren’t understanding nuances either. And it started with not understanding the meaning and purpose of conjunctions when reading and writing.

All too often, one student or another writes something like “ Jerrika is considerate because she helps her neighbor carry groceries .”

And I’ll have to explain that Jerrika is probably considerate because of how she was raised. They either have the cause and effect relationship confused, or they are misunderstanding how to use the word because .

The sentence should be “ Jerrika is being considerate when  she helps her neighbor carry groceries .” Or “ Because Jerrika is considerate, she helps her neighbor carry groceries. ”

Using sentence frames definitely helps kids understand subtle meanings and nuances, and it’s easy to use them with any content.

Sentence Stems to Teach Conjunctions

Begin by giving students a short reading passage. We start by reading a short passage about sneezing.

Then give students 3 sentence stems that are identical except for the last word. I like to vary them by ending with because, and, but, so, therefore, however, although, etc.

You can see that the prompts are as follows:

Point out that changing just one word in each stem changes the meaning of the entire sentence.

For example, we use

• and  for adding information
• or  for giving alternatives
• but  for different or unexpected information
• because for providing reasons
• so for giving results or purposes
• although for different or unexpected information

The completed sentences students wrote varied, and because they were focused on the conjunction, most completed the frames correctly. Their answers were complete and made sense.

Sometimes I’ll ask students to write the stems and switch with a classmate. I tell them not to write two stems that could result in the same answer. Students quickly learn that they shouldn’t write a stem ending with therefore and another ending with so because they have the same meaning.

Sentence Stems and Text Structure

Sentence stems can provide students with the framework to write using a variety of different text structures, such as compare and contrast, problem and solution, and more. It can also help them plan their ideas before group discussions. Kids are much less likely to complain that they don’t know what to write or say when the work has already been started for them.

If you are having a discussion comparing and contrasting literary characters, give students this framework:

• Johnny Cade and Dally both …(state the way they are similar.) Johnny and Dally differ in the way they (state how they are different.)

If you want students to look at a photo of Yellowstone Park and do some descriptive writing using imagery, give them this framework:

While at Yellowstone, I can see… I can smell… I can hear… etc.

Sentence Stems to Cite Evidence

I’ve been using these for some time, but I have to admit that until the AP teacher encouraged the use of sentence stems, I often felt a little guilty about “giving” kids too much help, which is quite ridiculous! Unfortunately, this is a common concern for teachers. Why do we do this to ourselves?

Now, the sentence stem board is a valuable resource in our classroom. Students draw inspiration from it, and they can revise the language and terminology as they see fit.

I made mine by typing the stems on speech bubbles and arrows and then printing them on bright paper. If you’d prefer buying them to making them, click on the image for the link.

Keep in mind that your advanced students probably won’t need sentence stems.

Others will need to rely on the formatting for a while. That’s fine. They will get the hang of it. In the meantime, encourage students to use the framework. And be unapologetic in offering students all of the scaffolding they need.

Stay delicious!

Narrative Writing Workshop for Middle School ELA

Fiction & Nonfiction Reading -Teach, Practice, Test BUNDLE – Middle School ELA

RACES Writing Introduction to Paragraph Frames DIGITAL & EDITABLE

Teaching Argument Writing to ELLs

Teaching problem/solution writing, beginner ells: for want of a loaf of bread, teaching evidence and claims, intermediate ells: whose neighborhood is best, teaching argument writing, advanced ells: smartphones—good or bad in class.

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• Students should begin by reading more informational texts than they did before—these can include closed-captioned videos and digital-supported forms—and they should engage in close reading. Teachers should help students focus not only on comprehending the texts but also on inferring deeper meanings, identifying the writer's craft, and seeking patterns in the text. There should be a strong connection between reading and writing.
• As students read in preparation for writing an argument, they should look for evidence they can use to inform their valid and logical claims and to critique other claims and evidence they might read.
• In their writing, students should use the structure, vocabulary, and style that best suits their purpose, topic, and audience. Teachers should provide ample opportunities for students to develop and use higher-level academic vocabulary.

The problem is hungry family. The problem is caused by man not having job. One effect is the family gets sick. A second effect is family die. One solution is give them jobs. Another solution is ask people for help.

Figure 1. Concept Attainment Strategy Chart

Teaching Argument Writing to ELLs-table

.css-191dech{margin-top:16px;margin-bottom:16px;display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;} .css-12z0wuy{margin-right:8px;} • .css-16w6vyg{margin:0;font-family:'Poppins',sans-serif;font-weight:400;font-size:0.875rem;line-height:1.43;font-size:1rem;font-weight:400;line-height:1.625rem;letter-spacing:0.2px;} 1 See Teaching English as a Foreign Language to Large, Multilevel Classes (Peace Corps, 1992). Available at http://files.peacecorps.gov/multimedia/pdf/library/M0046_tefllarge.pdf

• 2 See Gerald Graff and Cathy Birkenstein's book, They Say, I Say : The Moves That Matter in Academic Writing (Norton, 2009) for academic words and sentence frames that help students structure their arguments, introduce evidence, agree or disagree with the claims of others, address counterclaims, and formulate strong conclusions.

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Hunter Biden’s Daughter Naomi Testifies on His Behalf in Gun Trial

During the cross-examination, government lawyers elicited anguished, and excruciating, details about their relationship at the time.

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By Eileen Sullivan ,  Glenn Thrush and Zach Montague

Reporting from Wilmington, Del.

Hunter Biden’s daughter Naomi Biden Neal took the stand on Friday in hopes of taking her father’s defense into her own hands. By the time she embraced him at the defendant’s table after an hour of emotionally raw testimony, it was unclear whether she helped or harmed his cause.

Ms. Biden Neal, 30, told the court her father seemed “hopeful” and sober weeks before he claimed to be drug-free on a gun application at the heart of the government’s case. But that upbeat assessment was quickly undercut by prosecutors, who introduced anguished texts from that period in which she told her father he had driven her to the breaking point.

“I’m really sorry, dad, I can’t take this,” Ms. Biden Neal wrote in October 2018, after he had failed to respond to several of her messages when they were both in New York.

“I don’t know what to say, I just miss you so much,” she said. I just want to hang out with you.”

The dramatic testimony by Ms. Biden Neal — somber, clad in black and nagged by a nervous cough — capped the first week of Mr. Biden’s trial on charges that he falsely claimed to be sober on an application to buy a handgun on Oct. 12 in Delaware.

The government’s goal is to prove Mr. Biden was using drugs regularly in 2018 and 2019 and knowingly falsified the form. His lawyers have offered a spirited, if narrower, defense centered on questioning whether Mr. Biden was actually using drugs in October 2018 and challenging the recollection of the prosecution’s witnesses.

Over the previous few days, David C. Weiss, the special counsel in the case, summoned three women with painful, intimate experiences with Mr. Biden’s descent into crack and alcohol after the 2015 death of his brother: his former wife, Kathleen Buhle; a onetime girlfriend, Zoe Kestan; and Hallie Biden, the widow of his brother, Beau Biden, with whom he had an ill-fated romantic relationship.

Ms. Biden Neal has been the only woman called by the defense, led by the veteran defense lawyer Abbe Lowell.

Ms. Biden Neal, who works as a lawyer in Washington, had been eager to help out her father, who she believes is the target of a politically motivated prosecution, according to people familiar with the situation. Even if things had gone more smoothly, she could offer only limited insights into the actions of Mr. Biden, who was often absent from her life for months and erratic even when they were in the same city.

Mr. Lowell guided her through a series of gentle questions during a direct examination that lasted 11 minutes as she sought to bolster the defense’s contention that her father was working hard to kick his addiction to crack cocaine and alcohol in the weeks leading up to his gun purchase.

After having lunch with him in Los Angeles in August 2018, Ms. Biden Neal concluded that he was “the clearest” she had seen him since her uncle’s death three years earlier, she told the court.

“He seemed great; he seemed hopeful,” she recalled.

But under an intense cross-examination, her claim seemed to crumble.

Just three months later, in mid-October 2018, Mr. Biden visited New York City, where his daughter was entering her second year of law school and moving in with her boyfriend.

The government produced several text exchanges that suggested he was not in a good place.

Mr. Biden ignored Ms. Biden Neal’s desperate texts for hours and made a bizarre request when he did resurface, around 2 a.m. “Are you up? Please call me,” he wrote to his daughter. He wanted her boyfriend to bring him his truck, which the couple had borrowed, to Midtown Manhattan from Brooklyn.

Later that day, Ms. Biden Neal and her father exchanged more texts, trying to arrange handing off the keys. She had hoped to see him, but that was looking unlikely.

“So no c u!?” she texted him on Oct. 18, adding a sad-face emoji.

Mr. Biden responded, “I’m sorry, I have been so unreachable, it’s not fair to you.”

They did see each other the next day. But she later admitted their encounters were often fleeting, lasting no more than an hour or two.

Ms. Biden Neal was subdued as she sat in the witness box, glumly reading a sheaf of her texts printed out by the prosecution. She said she did “not recall” sending them when asked to explain her state of mind, noting that her main recollection of those days was how difficult it was for the two of them to connect.

Her father appeared to be fighting tears as she spoke.

After stepping down from the stand, Ms. Biden Neal walked over to her father, who was at the defense table, and embraced him before they exited the courtroom together.

The prosecution, which rested on Friday morning, has gone to great length — through witness testimony, hundreds of contemporaneous text messages and bank records, as well as the defendant’s own words — to illustrate that Mr. Biden spiraled through an unrelenting addiction to crack cocaine in the months before and after October 2018.

Over the course of the week, Mr. Lowell has established that no one saw Mr. Biden doing crack cocaine in October 2018, the month he bought the gun. Ms. Biden Neal’s testimony on Friday did not change that.

But two text messages retrieved from Mr. Biden’s phone have been hurting his defense from the start. One day after he purchased the gun, he sent a text saying he was meeting a dealer named Mookie. A day later, he followed up to say that he was sleeping on a car and smoking crack.

The apparent admission came to a head as Mr. Lowell questioned the prosecution’s last witness, Joshua Romig, a special agent with the Drug Enforcement Administration, who was asked to translate drug lingo introduced in the government’s case against Mr. Biden.

Mr. Lowell made the point that while the prosecution has spent days examining Mr. Biden’s communications earlier in 2018 and in 2019, showing pictures of him holding a crack pipe and texts about buying drugs, there was nothing comparable to show for October 2018.

“No reference of Chore Boy?” Mr. Lowell said to Mr. Romig. “No mention of a ball?”

Mr. Romig responded, “With the exception of the October text that we talked about, where he said he was smoking crack.”

The trial has served as a vivid reminder of a harrowing drama that has played out in the Biden family for years, underlined by the presence of friends and family of Mr. Biden’s in the courtroom every day. The first lady, Jill Biden, flew back from France on Thursday to retake her seat in the front row behind the defense counsel table on Friday.

The case centers on a fairly simple question: whether Mr. Biden lied on Oct. 12, 2018, when he marked “no” in answering a particular question on a federal gun application. It asked, “Are you an unlawful user of, or addicted to, marijuana or any depressant, stimulant, narcotic drug, or any other controlled substance?”

Mr. Biden is charged with three felonies : lying to a federally licensed gun dealer, making a false claim on the federal firearms application and possessing an illegally obtained gun. If convicted, he could face up to 25 years in prison and $750,000 in fines. But nonviolent first-time offenders who have not been accused of using the weapon in another crime rarely receive serious prison time for the charges.

It was unclear on Friday how many more witnesses, if any, the defense planned to call on Monday.

Eileen Sullivan  covers breaking news, the Justice Department, the trials against Donald J. Trump and the Biden administration. More about Eileen Sullivan

Glenn Thrush covers the Department of Justice and has also written about gun violence, civil rights and conditions in the country’s jails and prisons. More about Glenn Thrush

Zach Montague is based in Washington. He covers breaking news and developments around the district. More about Zach Montague