“I guess we’ll have a better idea once it’s all been through an exam cycle.”
Lines like the one above were thrown about in meeting rooms and classrooms across Victoria the past two years as teachers grappled with the way in which to best teach the new area of study, Crafting/Creating texts. For people like me, who aimed to help schools and their teachers plan effective units of work comprised of activities and tasks that would challenge and inspire students, there was a certain anxiety around how to best meet the requirements of the design and all it entailed.
How vital would the mentor texts be?
Will one particular form of writing become the ‘safest’ or ‘best’ for our students?
What about prompting material? How vital will that be to any assessments?
And while we think about assessing, how will we authenticate work and ensure the spirit of this task is adhered to throughout?
The teachers I worked with, spoke to and bounced ideas off were unsurprisingly prepared and open minded about the new task and its outcomes, despite their niggling uncertainties. With a set of knowledge and skills as a roadmap and eventually a sample exam to shed some light on the final assessment for our students, many hours were spent developing plans and strategies that would provide our classes with the chance to exercise their creative and thoughtful sides through unique writing.
So, as we stand here now, armed with the knowledge of taking our Year Elevens of 2023 and Twelves of 2024 through a SAC and exam cycle, what have we learned? What can we dismiss, both in our approaches and our concerns, and what do we need to shine more light on to improve our practice even further? This post doesn’t purport to be a masterclass in teaching Creating Texts, nor does it aim to be a strict set of banal guidelines or a recipe for the perfect response. Rather, it’s a collection of what’s been learned as I have spoken with VCE teachers from a wide range of schools all across the state as they have delivered, and now reflected on the first years of Creating Texts.
The Exam
As we nervously flicked to the middle section of the exam paper, we could let out a sigh of relief as the stimulus material appeared as expected. But had we given our students the right strategies to use the material? Were they going to be able to find that sweet spot between on-the-day inspiration and weeks of preparation? And what can we prepare our 2025 students with, knowing what we now know?
The Title
Within a task full of variables that begs students to take creative licence, the demand that students “must include meaningful connections with ideas drawn from…the title provided” should act as a beacon for all writers to move towards with (dare I say it) purpose. We know that it is not sufficient to merely write the word ‘Connections’ at the top of our script paper before writing a piece focused on something else entirely in regard to writing about Country. Just as it’s not sufficient to write out an essay question in Section A and then write a response to another topic. But, how much impact should the title have upon the piece that’s put before the examiner? The advice I’ll be giving students this year is to not flirt with this. They have been given a title and they are expected to write a piece that is in response/inspired/informed by this. Students should ask themselves, ‘is it clear what I’m saying through this piece and is it clear that this has come from the title?’ As teachers, we can then discuss the levels to which we can work with a provided title in an insightful and sophisticated manner. At the more basic end of the spectrum, we can discuss how merely reiterating the title, or referring to its literal meaning will not allow us the level of complexity required for a successful piece. Writing about one’s journey and wrapping it up by pointing out that the writer ‘found their way’ after all, doesn’t take the stimulus very far or do anything with it. Nor does writing about a moment in one’s life where they are simply allowed ‘time to play’ without any further exploration or thinking.
So how do we, in a practical manner, show our students how to do something with the title? Like many parts of our profession, we can advise them verbally over and over, but we know that for most of our learners, they need to be shown the process through modelling. Perhaps some lessons can focus on the title and encouraging students to see it as an opportunity for thinking, rather than a stringent requirement? A brainstorming session where we celebrate the multiple ways a simple title can be read and understood, combined with the listing of appropriate synonyms to broaden our understanding of the terms used within the title will show students how to best work with it, rather than against it?
Groups who wrote about protest could consider how that whilst resistance and persistence are both elements of protest, they each bring with them qualities of protest that are ripe for further exploration. One can resist the words, actions and policies of another group whilst they demand change. But is there a point where they relent? How long can one fight against a system or a cultural norm that they feel to be unfair, before giving in? Perhaps the idea for a piece can come from one who refuses to relent, whose persistence has brought change? Perhaps, the power of the status quo can be explored through the overwhelming manner in which well intentioned people find themselves compromising their values? It would be worth noting to the students that the terms used in the preceding questions were of course not a part of the original title. But rather, they have come about in our thinking as a result of working with that title. Students who can grasp this skill and practise it will find themselves with a wide array of ideas to explore throughout their writing. Careful and deliberate work around this type of thinking of planning will also arm our writers with an ‘ideas first’ mentality to their work, pushing them to consider purpose and thinking before considering the manner in which these ideas will be explored through character, setting, plot etc.
‘How obvious do we have to make it? Like, do I have to point out exactly which material I’ve used?’
I responded to many questions of this ilk as I worked with cohorts in their preparation for the 2024 exam. To me, it showed the keenness to do well and to ensure they were meeting the requirements of the task. It also spoke to the insecurity around a task that is not prescriptive beyond the requirement to use the title and “at least one” piece of provided stimulus material. My advice to students will remain the same in regard to this - the material does not have an equals sign next to it, telling them what to think or how most people will perceive it. It is not there to be read in one certain way. Rather, it is there to stimulate thinking and to provide inspiration and feeling. Whereas the title may set some clearer ideas around the purpose of a piece, the material underneath it is there to be used to boost a students’ thinking and creativity. A light bulb with rocket powered wings, soaring through the sky is going to elicit a range of responses. Your view of such an image could vary wildly from mine. As such, the ‘answer’ to the material is irrelevant, but the thinking that it promotes is invaluable.
Say I’m grappling with the title of ‘Time to Play’. I’ve considered whether it means (to me) that there’s a time for fun and a time for work and that these are very separate. Maybe it’s a reminder that we need to find that time and that we must step back often and declare that the time for the seriousness of life is over for a period? As I continue thinking, I can use the material provided to help mould these initial thoughts further. A rocket powered light bulb? Sounds like an imagination that has no limits! It’s reminiscent of something untethered, taking off and heading to places that few have ventured to before!
Seriousness of life, untethered, imagination, soaring, rocket powered, venturing to unknown places - with these terms running around my mind, I can begin to craft my response. What am I going to say about a ‘time to play’ that is inspired by such thoughts?
Modelling this type of planning and discussing various ways of responding to various different stimulus material will be time well spent in helping our writers open up their minds to the endless possibilities for their pieces.
What about the mentor texts?
Students need to be clear in their understanding of the mentor texts, but some may feel confused as to their absence from the exam material. ‘If we’re going to read and view these things in class, shouldn’t they be on the exam?’
Of course, we’ll guide them to understand that, unlike Section A texts, the mentor texts are there to promote thinking and model ways of approaching writing, not as a work that must be studied, analysed and referred to in the final examined product. It can seem very clear to us as teachers, but I’ve found that students need support in clearly understanding the utility of the range of mentor texts, particularly when they don’t see them as directly part of the task on the exam paper.
Two important questions I like to pose to students about the mentor texts are concerned with ideas and audience - two factors that can be overlooked in some pieces that students put forward. Firstly, I like to challenge students to list the range of ideas that are being presented in the mentor text by asking ‘What is this all about? What does this writer say about Country/Protest/Personal Journeys/Play?’ I then stress to students that effective writing, such as what they’re being exposed to with the mentor texts, has a clear purpose, but also a range of ideas that are being explored in pursuit of this purpose. I then ask students to casually tell me who they think a certain writer is, based on what they’ve read. See below for how we can use these questions of the mentor texts to help students deepen the quality of their writing.
What ideas (plural!) are you exploring in your piece?
Whilst it’s easy to ask a question of a student’s work, it is another thing entirely to act on the response to that question in order to improve the writing. We can tell students that they must explore ideas in their pieces, but how does this work and what does it look like?
Firstly, it’s critical that they understand the plurality of ideas. Just as Romeo and Juliet is about more than just ‘love’, their piece must go beyond being one dimensional. A common pitfall that I’ve witnessed is students really engaging with a title or a line from the stimulus material and merely repeating that one idea throughout their writing. For example, they may be writing about someone finding their way and include various obstacles that their character overcame. After mentioning the nature of the obstacle, the student reiterates that their character ‘found their way’ eventually. The student is clear on their needing to be an idea to explore, but they are finding themselves well short of insightful writing if they’re merely repeating themselves at the end of each section or paragraph.
Amy Duong is lamenting the irrevocable distance between herself and her elders, due to their vastly different upbringings and experiences with the world. She also questions how well we can understand another person despite how much we may love them, whilst at the same time sharing her guilt at the ease with which one can drift away from family and culture while establishing their own lives. It is this range of ideas (along with the many others) that make this piece as intriguing and thoughtful as it is. It reflects. It expresses. It even explains. And it does this by examining a series of thoughts in relation to culture, belonging and individuality.
For further ideas in relation to the mentor texts, check out our other blog entries that discuss key ideas from some of the mentor texts.
Students looking through the expected qualities and assessment rubrics will see that success with ideas comes from the width as much as the depth. A series of ideas that culminate in an intriguing and purposeful piece will be graded much more favourably than writing that is narrow and/or shallow in the ideas it sets out to grapple with. So, if we ask the question of the mentor texts - what ideas are being explored here - then we can ask the same of our students.
Who is Chelsea Roffey/Mark Gillespie/Penni Russon?
The most challenging aspect of teaching voice, and encouraging students to adopt and enhance their own voice, is that it’s tragically simple to say, but very difficult to actually do! What words can we put in what order so that a rhythm and life comes from them? Yet, despite its difficulty, we know that effective writing is able to convey a voice that enhances the message and purpose of the piece.
I’ve found a great way ‘in’ to these types of lessons comes through our mentor texts and asking our students their opinions on who they believe the writers to be.
What kind of person do you think Chelsea Roffey is?
Self assured, intelligent, a bit of a smart arse who’s happy to rustle a few feathers and doesn’t care what people think.
Nice! Okay - how have you reached that opinion? What makes you say that? After all - you’ve never met her.
Yeah, but she’s constantly being sarcastic about how weak and feeble women are - like she’s mocking people who actually think that. She also mocks football and people who make it more serious than what it is. Also, she fights a bit through her sarcasm and criticises people who have tried to keep her down.
The above is a paraphrased version of a discussion I had with a student last year when speaking with a group about how to create a distinct voice. If voice is the personal side of writing coming through, then let’s ask students their opinions on the people they’re hearing from! This simple technique leads naturally into the features of the writing that convey this voice. From here, we have a shared understanding that we can call back upon when drafting. We can ask students ‘When I read your piece, who am I going to imagine is behind it? What have you done to create some personality behind your writing?
I know of schools that have casually assessed the mentor texts to the assessment rubrics in class as a way of creating a link between the elements of this task and the nature of effective writing. Whilst this may not work in every classroom, the fact remains that the mentor texts are our friend when it comes to shining a light on the array of individual skills that go into a complete and successful student piece.
Without getting too meta, the purpose of this post was to reflect on this (not so) new unit of work and consider what is commonly understood and appreciated, as well as where some of us may see it differently. I’d love to hear your thoughts on how you see the unit, particularly any different ways that you feel it can be taught or conveyed to students. If you’ve enjoyed this, and feel that The English Lab could help with your teaching of this unit (and others) in 2025, please check the resources page on this website. Our unit workbooks and professional learning packages have proved helpful to many schools so far. Alternatively, we can come to you and speak with your staff or cohort! Simply email hello@englishlab.com.au for further details.
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