Hey! I'm loving my E2 course and really enjoying the creation process of my major work. When did you finish your work by? When did you finish you first draft by? Could you give some tips for the process? Thanks x
Hey, I think that the E2 course is quite enjoyable and i am finding that i am running well with my schedule in regards to my major work however i was hoping that you may possibly have some guidance for the report that is due? Any help is greatly appreciated in relation to where to start, exactly what boxes should i be ticking in writing the report and any other bits and bobs that could help.
Thankyou, Emily
I used real newspaper articles throughout my short story to set different scenes. I've italicised and quoted them, putting the publication date and newspaper under neath, but should I submit an addition bibliography or foot note? Cheers x
Hello Elyse!!
I am currently in the stage of polishing and editing my Major Work. I cannot believe how fast time has gone and I have about a month until submission!!!
One problem is that I'm struggling to cut down the words... the word limit for short stories (my form), as you know, is 6000 words... and I have gone from 8500 down to 6500, where I am stuck at the moment.
Did you have this sort of problem for your Major Work, and if so, do you have any tips for sticking to the word limit?
Thank you in advance,
Annie
Wooohooo! Congratulations on being so close to the end! I hope you feel AMAZING because you deserve it. EVERY EXTENSION TWO STUDENT DESERVES IT.
You've made an enormous cull already - so good on you for doing that without shedding too many tears!
Okay, this is tedious, but this is how I ended my editing process. I went through every, single, sentence, word, by, word, and made sure that there was not a single word that was the weak link in the sentence, or a single sentence that let me down. I cut out about 200 words by doing this. I mean, meticulously looking at every single word and every connotation of that word. This helped with not just cutting down, but also make what remained far stronger (I'd substitute words for other words as well, not just culling the lot).
So you can cut, like, 200 words like this. If you're daring!
Then you're still a little over. So this is where you need to touch the plot a bit. So consider changing the order of a paragraph or too, or deciding if that reflection paragraph is necessary, or is that setting the scene paragraph necessary? By showing your work to a few people, you should ask them what part bores them. Ask them to be super honest and to reveal what the most boring part of the text is. Then, get rid of it. Or, at the least, cut it in half and make the remainder less boring. I know it's harsh! And asking for too many opinions is dangerous because you just can't please EVERYONE! Even though you want your piece to do exactly that. So, be wary with asking people for opinions, but at the same time, that can be an extremely valuable tool!
Thanks so much Elyse!! I've yet to receive some drafts I've asked people to read so I might get on with the first suggestion for now :)
Also does anyone actually know how ext2 is scaled?
Major works are due a week from now, but my teacher is looking for a final copy on Monday (rip). My draft got a 16/20 with limited feedback and I can't find anyone else to read it. Do you have any ideas for getting a fresh perspective of my own work/general adjustments to improve my mark? :-\
Hi, I just stumbled onto this thread and it's really helpful so far, thank you for making it. I was wondering if you had any tips for Speeches as a Major Work?
Thank you :)
Hi, I just stumbled onto this thread and it's really helpful so far, thank you for making it. I was wondering if you had any tips for Speeches as a Major Work?
Thank you :)
Hi Elyse,
How do i post my major work draft here?
Im only about halfway there but would most definitely love some feedback!!!!
Hey elyse
Can i Post my MW here for feedback please?
Hi :)
I'm writing a short story on refugees (in Australia) for my major work. I'm thinking of experimenting with writing in first person instead of third person, because I want the audience to develop a strong emotional connection with the characters.
I'd like to know what the common pitfalls associated with writing in first person are, as opposed to third. I'm not 100% confident with first person, but I'm willing to try :)
Thanks!!
Hi! I have a Viva Voce assessment tomorrow and I'm prepared for it but I was wondering if you maybe have some advice for this kind of assessment (if you've done it before that is.) I've never done this before and I am actually really nervous.
Hey! Elyse might pop in here soon but I thought I'd wish you good luck for tomorrow anyway!Thank you so much!!
After chatting to a friend who did this exact same assessment last year she was adamant that if you are confident & passionate about your work and have lots to say about it you will be totally fine! It's highly likely that your teacher will be actually really interested in your ideas and will want to know more, so give them what they want without waffling on! 😃 Its one of those assessment types that can be really weird especially when there's nothing like it in the earlier years of high school. Your teacher knows this too so they will be trying to make you as comfortable as possible.
Use your nerves to go smash it!! ;D
Hi! I have a Viva Voce assessment tomorrow and I'm prepared for it but I was wondering if you maybe have some advice for this kind of assessment (if you've done it before that is.) I've never done this before and I am actually really nervous.
Hey there! Sorry I didn't get to this a few hours earlier, but just in case you check the forums before school, I'll add to Sarah's comment. Absolutely, know your passion and express that passion in your words! Be articulate, and tick all boxes. So, look into the criteria for the vive voce, or if it isn't supplied, look at the reflection statement criteria. It talks about research into form and concept, among other things. Be prepared to discuss both of these, the research into both! Sometimes we get caught up in the research into concept and forget to talk about form. Your teacher might prompt you to talk about form, but he or she mightn't, so bring it up yourself if possible to ensure you take the discussion that way - particularly if concept and form are interlinked for you at this stage!Thank you! Ah.. I think I did ok?? Like I answered everything and it was prompted but like I feel pretty iffy about it.
If you're reading this after the vive voce, how did you think you went? :)
Hey! I have a quick question... which i need answered asap!!!!! I have my viva voce assessment for extension 2 and one of the questions is: "1. What is the intended form of your major work and discuss thus far what you have learnt about it? To answer this, select and explain one specific resource/source in your journal that has been particularly valuable to you. How do you think this will impact your work?"
I am just wondering how I would go about answering this, my resource is Tim Winton's Breath (not sure if this helps at all). I am stuck on the whole idea of form and what parts of the novel i would pick at to answer this question, eg. is it the characters? the way he establishes setting?
Hope you can help!! ;D
Hello! This thread is super awesome. I'm doing a series of speeches for my Ext 2 MW.
I was just wondering what is it exactly in an MW that creates a difference between an E3 and an E4 band? It would be great to hear some tips! Thank you :)
Hi!
My viva voce is coming up and I'm a little nervous haha
The first question will ask about the concept we are exploring in our MW.
Since that's the only question we know we will get for sure, I'm guessing its a pretty important one :)
In the notes I'm preparing, I'm including things like purpose, audience, themes and a brief description of what I'm doing.
What else would I include? Should I include a brief or extensive discussion of form?
Thanks!
p.s I think I sent Elyse a private message about a week ago, to which I've gotten no reply...should I send it again?
:)
Hi!
When do you recommend getting a start on the reflection statement? I want to start later when I'm absolutely sure of what i'm going to do and well into the creative process. My teacher's emphasising on starting now. I have ideas for it, but want to start a little later. Is this a good idea?
best wishes,
Anna
PS Elyse, I sent you a PM
To: Elyse
Hi Elyse
Please find attached my 4u MW. I would love your feedback on it. All the highlighted sections are medical interactions that I need to make sure are authentic enough.
Kind Regards,
Adi
Hey Anna,
I didn't start my reflection statement this early at all. We had an assessment called a report, which is basically a mini reflection statement. I only started my reflection statement after that (probably in the next term? Maybe in the upcoming holidays?) because the feedback on the report is what I used to start making my reflection statement officially. I mean, brainstorming ideas is important now but most people aren't half way through their major work yet, so I can't see the benefit in starting officially writing the reflection statement when you only have half a work to reflect on. Have you got the report assessment coming up?
I will get to your PM shortly - just going to Uni now and then I'll be back online :)
thanks Elyse!
Have you read my PM (so so so sorry to push)
my viva voce is tomorrow and I'm really nervous
any general tips?
thank you!!!
Hi Elyse,
As you've already read my story. Would you be able to provide me with some tips as to how to create a better atmosphere of seattle in My story. Also, how do i improve the characterisation of Guy at the beginning.??
Thanks,
Adi
The thing is, his failed transformation is not as explicit as I would like him to be and that is because his initial characterisation isn't done well enough. I was thinking Maybe i tie in his depression with the dot com bubble in seattle which ultimately lead to him losing his job and company and now he is an actuary.
I'm not sure. Still working it out. But my teachers have told me I'm underselling the atmosphere of Seattle which is also a very common feedback response from the marking centre and like any other person doing their HSC i wanna do the best I can. So i was just wondering if you could give me some tips as to how to improve the characterisation of a place e.g. seattle and how to clearly show that Guy is sad, stoic and alone.
YES!!!
I want to do that. But descriptive appearance as such doesn't come to me naturally so I was hoping you could refer me to some texts that I could use as points of inspiration??
Thanks a tonne Elyse,
And i was wondering would it be a good idea to make the narratorial voice something like this:
SO you know how in the prologue there's the medical terms. When the chapter starts, do you think the narrator can go like The textbook would call this stage the rejection of transplant post-treatment, I like to call it down shit creek? Something along those lines...because my teacher suggested it and i do like the idea however I also do find it to be a little cliche and mainstream??
Hi,Hey Mary! Glad to have a fellow Ext2er around!
I started the Extension 2 course last year (term 4), I was just wondering if you had any tips on writing a successful, well-received report? I have completed ample amounts of research and am 3000 words though my critical analysis (although I will need to carefully rewrite and develop my thesis a lot more than it is... so that is definitely a first draft), I was just going you had some advice on the structure of a report and what you recommend putting into this assessment.
Thank you so much,
Mary x
Hey Mary! Glad to have a fellow Ext2er around!
I have a few suggestions for this, some you may have already undertaken:
-Have a look at the marking guidelines for the Reflection Statement. You can see that here. The report is essentially a mini reflection statement in a lot of ways, the report is a way of preparing you for the reflection statement that's yet to come. See it as a polished draft, if you will! So looking at the guidelines for the reflection statement's marking will be useful for understanding the standard they expect.
-Also, have a look at the requirements of the reflection statement as this has a little checklist in there. It shouldn't really raise anything new, but I found it comforting to look at when I created my report so that I knew I had covered everything.
-If you're not sure about the language you're using, the structure...the ideas even, have a look at the State Library's collection of exemplar Reflection Statements here. Admittedly, when I first looked at these I felt like anything I had produced was ridiculously inadequate. Know that there are many ways of expressing things, but you might find some inspiration about what marker's respond well to by checking this out!
-Remember to recognise that the process of research and writing is flawed. You won't seem disorganised if you admit to changing your concept, or anything like that. The raw process of researching and writing is calculated, organic, stressful, creative, and disciplined all at once. You don't just have to draw on organised research, you can admit to organic evolution of your concepts if that is appropriate to your work.
-Don't be afraid to quote sections of your work to show exactly where your ideas have manifested in your major work!
Good luck...drop back any time :)
Hi Elyse,
Thank you so much, I've had a look at the reflection statements and the criteria and it already makes so much more sense! I really appreciate your help :)
Mary
ps. Yes, it's nice to find fellow ext2ers there aren't many!
Hi Elyse,
I'm so sorry to bother you again about the report. I honestly am completely overthinking this and I'm just not sure what to do. Do you perhaps have any examples I could possibly look at, or a structure you can suggest?
Thank you so much,
Mary x
hi!
i am to write a section in my major work in the perspective of a sort of cynic/pessimistic/work-orientated man
but i'm quite used to writing in idyllic/very flowery perspectives.
but i really want there to be a tonal shift in my writing because its in a different perspective
he's a bureaucrat who is really tough and his life revolves around his work
this is what I've written so far
my mentor pointed out to me that my style of writing (short sentences, sentence structure) is similar for all 4 perspectives, so how do you think I could improve that?
thanks!!!!
Hey bananna, apologies for the delay! Before talking about the structure, I just want to give you three thoughts...
I think you've got American spelling on for sanitizer when you likely mean sanitiser. No doubt this would come clear in the editing process anyway! Also, "of off chicken" just reads a little funny to me although it isn't incorrect, but for some reason I just fixated on it for too long. It's not incorrect, but "of off" does sound odd. And lastly, is the inmate fight the best thing that could ever happen to "me" or to "my career." I don't know where the story is going, but this could be an important distinction to make - is it important to the man personally, or just for the purpose of his career?
I think you've captured the voice really well! I think he sound stern but still human and not robotic. Sentence structure can be powerful in creating voices - but if you have to change any persona's sentence structure to no longer be short, it wouldn't be this character's. The short sentence structure contributes to the sternness of this man, which you need! Is it possible that you could work on varying the other persona's sentences, and leave this one?
Hi Elyse,
I didn't even realise you did Extension 2!
I have just changed my form last minute! I have changed from a short film to a speech as per a push and shove from my teachers. My concept itself is down syndrome, but more specifically down syndrome, but I was wondering a few things:
- How can I develop my concept to make it more succint?
- Where is the best place to look to start finding literary theory and research, as there is not much literature relevant to what we're studying I believe.
- Can you also explain what literary theory is and where I can find it in relation to disability/down syndrome?
Thanks so much and kind regards,
Josephine. :)
Hi Elyse,
I understand if I am way out of line in asking you to have a look at my Report, but I am really nervous that this just isn't in the top band. The teacher which usually handles the extension 2 course has gone on Year 7 camp and there are only a few of us actually taking Extension 2 in our cohort.
I would really, really appreciate it if you could have a look at my report and give me some feedback on how to get that 14-15/15?
Thank you so much, Mary x
Hey Mary!
I perhaps don't need to, but I want to preface this by saying I was the only person in my cohort who did Ext2, I was a class of one person, so it's possible that my experience of the course is different to other peoples. Because I only have my own work to bounce off, I hope I'm giving the right advice, seeing as it's not like I could look at my peers to see their approach! But as is the case with all feed back, you decide what you want to take on :)SpoilerMy major work examines Shakespeare’s characters Cleopatra from Antony and Cleopatra and Cordelia from King Lear through the lens of Romantic individuals Elizabeth Inchbald, William Hazlitt and Samuel Taylor Coleridge. The introduction of each character is unclear, maybe it's just because of the way it's reformatted here. Put the text's names in Italics or underlined so that we can tell apart the characters and their texts, just because it seems to be a bit jumbled and we can't have that happen so early on :) I arrived at this area of study through my readings of Joseph Ortiz’s Shakespeare and The Culture of Romanticism and Jonathan Bate’s The Romantics on Shakespeare, this allowed me to This language here makes sense, but it's not expressed in a sophisticated manner. Perhaps if you start a new sentence here, you can use nominalisation to your advantage. create an informed understanding of what Romantic critique consisted of and how it was applied to Shakespeare’s work. The focus on Shakespeare’s female characters has been quite neglected in history in literary history? critical history? Be specific here., however the new wave of feminism in the 21st century has brought Shakespeare’s female characters back to this implies that they were once at the forefront - were they? the forefront, but with a focus only on contemporary and 20th century critique. Within Romantic critique there was a concentration on Shakespeare’s women which was quite revolutionary for the era and it is imperative that this focus is revived in contemporary society I know it's small, but we've used "was" twice in this sentence. No huge deal, but being E2, expression is everything. I hope you don't think I'm being too picky, it's always easier to find faults in other people's work than your own! . Focusing on Romantic criticism offers something rich in the understanding of Shakespeare’s characters, the era’s evaluations have become quite forgotten and concentrating on this lens provides a view that informs character criticisms. The examination of the development of Romantic criticisms through different periods in the era provides various informed scopes for the evaluation of the characters. This analysis, using Romantic precepts attempts to grant validity to the female experience and representation of human characters. The journal the Shakespeare Quarterly is a peer reviewed journal, renowned for its publication of essays at the forefront of Shakespearean studies. Its concentration on scholarly essays investigating new perspectives on Shakespeare’s work provides an audience for my major work, which evaluates his characters using the Romantic lens.
My initial research focussed focused*upon the form of character criticism that the Romantics delighted in. Reading essaysupon Romantic criticism such as George Mosse’s The Culture of Western Europe and Arthur Kirch’s Shakespeare’s Humanism reaffirmed a clear understanding of why the Romantics revered Shakespeare, highlighting that the Romantics centred their attention upon the internal condition of individuals and the analysis of the individual’s emotions. Prior to commencing my major work, I had an understanding of Romantic philosophies and precepts, however my research made me aware of its potential relevance and application to the critique of literature. My interest in Romantic critique grew as I researched essays written in the Romantic era, such as John Keats’ The Poetical Character and Samuel Johnson’s Dedication to Shakespeare which directly interacts with Shakespeare’s characters and Romantic perspectives upon them, Johnson remarking that “Shakespeare’s excellence was not the fiction of a tale, but the representation of life; and his reputation is therefore safe till human nature shall be changed.” I also came across peer reviews of Romantic essays written by Elizabeth Inchbald, William Hazlitt and Samuel Taylor Coleridge, such as Karen Gervitz’s Elizabeth Inchbald; Shakespeare Criticism, Francesca Saggini’s The Art of Fine Drama: Inchbald’s Remarks for The British Theatre and the Aesthetic Experience of the Late Eighteenth Century Theatre-Goer, Jonathan Bate’s William Hazlitt “On Siddons, Kemble and Kean” and James Engell’s Coleridge, Johnson and Shakespeare. This piqued my interest into the development of Romantic criticism on Shakespeare, Inchbald providing a bridge between Neoclassic Criticism and Romantic understanding, Hazlitt capturing Humanist and Romantic perspectives, whilst Coleridge forming the epitome of 19th century Romantic critique. This interest caused me to explore their own essays in order to garner knowledge on their precepts and preoccupations of Shakespeare’s characters. Elizabeth Inchbald’s remarks on Shakespeare’s characters in The British Theatre provided an understanding of her observations which grant validity to the female experience within the Romantic era. Hazlitt’s Characters of Shakespeare’s Plays also focussed upon Shakespeare’s female characters as capturing women with internal machinations. Coleridge’s criticism within his letter On Shakespeare’s Characters prefigured psycho-analytical readings of literature. This research shaped my major work, creating a discussion of Shakespeare’s characters through the development of Inchbald, Hazlitt and Coleridge’s critique-which reflects different periods of Romanticism. Until this last sentence, you've just listed research without actually making the strong connections. I think we need to revise the way you've approached this. Similar to an essay, you make a point and then you link. Here, you need to make a point of your research but then link it as well to the way your major work is right now. Directly link the exact point your major work is up to now, to the research. Like, if in paragraph 3 you've espoused a marxist reading on top of romantic critical theory (hypothetical), then you would say that came from the reading of blah blah. Specifically talk about how each text influenced your work and where it did, and to what degree.
Having attained this foundational understanding I began searching for potential characters in Shakespeare’s texts. Through my readings of Inchbald, Hazlitt and Coleridge I discovered their fascination with Cleopatra from Antony and Cleopatra. Each individual had a unique lens upon Cleopatra as they represented the different periods within Romanticism. In Inchbald’s Preface to Antony and Cleopatra she focuses upon Cleopatra’s emotion and insecurities as rendering her with human qualities-a culmination of Neo-classist and Romantic critique. Hazlitt’s notion of Cleopatra’s character revolving around the dichotomy of the political, powerful queen and yet the seductive woman driven by emotion transcends Inchbald’s evaluations to provide Humanist and Romantic critique. Coleridge's note which was made for a lecture in 1818 on Antony and Cleopatra revealed his opinion that “perhaps of Shakespeare’s plays, the most wonderful is Antony and Cleopatra.” Coleridge’s evaluation of Cleopatra represents the height of Romantic critique remarking that “the sense of criminality in her passion” reveals the Romantic preoccupation that “depth and energy” within emotion renders an authentic human experience. The development of criticism on Cleopatra within the Romantic era significantly shaped my major work as it allowed me to analyse Cleopatra through a development of Romantic readings and the differing perspectives on the representation of her humanity. This formed a structure of my analysis, to focus on Cleopatra in light of each individual and create a sustained Romantic evaluation. So what did this offer that other texts couldn't? You're making the connection stronger in this one, but we need to be more evaluative now :) Was this pivotal in your work? You need to be more critical of your own research (which I know is tricky!).
My knowledge of Hermione from The Winter’s Tale greatly assisted in my choice to contrast Cleopatra with Hermione, still using the Romantic individual’s criticisms. Hermione and Cleopatra were both queens and had similar roles within their respective monarchs, however there was a stark contrast in personality, Hermione being quite reserved and Cleopatra a vivacious, vibrant character. Phyllis Rackin’s Shakespeare and Women and Juliet Dusinberre’s Shakespeare and The Nature of Women provided significant insight into the analysis of Hermione. However, despite my extensive research, I came to a realisation that Hermione did not represent a character which embodied Romantic fascination and that Romanticism instead focused on the character of Cordelia form King Lear. This realisation led to a change of route in my major work as I chose a different character in order to render an authentic Romantic reading of Shakespeare’s female characters. Unfortunately, this decision was made very late in the term and impacted upon my ability to extensively research Cordelia. Nice! Good critical thinking. I am aware, however, that King Lear was an incredibly popular play and has sustained its popularity into the 21st century. My knowledge that the Romantics revered Cordelia was supported by the alteration of King Lear’s ending in the 19th century, the Romantics deciding that Cordelia should not die because they believed such a wonderful and moral character did not deserve that ending. Therefore, the direction of my major work changed, however this ensures that it does reflect Romantic evaluations and criticisms of Shakespeare’s characters in order to create an authentic major work.
I chose to write a critical response as the form of my major work because this was the most effective instrument for the analysis which I desired to undertake. Despite having initially explored writing essays in the style of Elizabeth Inchbald, my final decision to utilise a traditional, objective, formal tone was determined by the strongly academic context of my response, particularly in my application of Romantic criticism. Beautiful! Very good! I was influenced in my decision of this structure by Joseph Addison’s On the Essay Form and Richard Amacher’s The Essay, which highlighted that a complex subject matter mandated an academic approach. Great! Furthermore, because the intended purpose of my response was investigative, I chose to write in third person. As my investigation progressed, I decided to structure my essay into sections to encapsulate the various criticisms of the Romantic individuals and their representations of the different periods of Romanticism for each female character. This structure not only provides different analyses per section of the humanity in each character but also allows a clear progression of Romantic critique and ideas. Your best paragraph...you are so critical and evaluative here, making direct links between different people/works and your own work.
My intended purpose, that is, the examination of Shakespeare’s female characters Cleopatra and Cordelia through the lens of Romantic critique from the individuals of Elizabeth Inchbald, William Hazlitt and Samuel Taylor Coleridge has been clearly shaped by the aforementioned area of investigation in Romantic criticisms of literature, particularly Shakespeare’s work. Long sentence girlfriend! I'd split it into two sentences, the first saying "The research of blah blah and blah has clearly shaped my major work. The evolution of my purpose has come to a point where it now clearly is: *say intention*" Something like this, split them up :) Autonomous investigation has played an integral role in the major work progress and has furthered my conceptual development in numerous areas as well as inspiring the form and nature of my essay.
I think you've done a great job, and the E2 report is difficult because you really need to use every single word strongly. Every word has to have a meaning and an intention - and you've got some great examples of that, but there are some parts where analysis is required to make a stronger account. I've pointed out the parts where I think you've done an excellent job of being critical of the process - hopefully it all makes sense to you! Again, take it all with a grain of salt, but I hope this gives you a step in the right direction :)
Hi:)
My major work is full of experimentation and I've finally decided to use first person for my child refugee (as oppose to third person).
This means I have to change the 1200 words I wrote previously.
Wondering if you had any tips on writing in 1st person from a child's POV.
Thank you!!
Hey banana! You've not got an easy task ahead of you I'm afraid to say! There are lots of things to consider when writing from a child's perspective. Firstly, the vocabulary. You have the be realistic in what you are suggesting is coming from the mind and mouth of the character. Would an 8 year old likely know that word? Would an 8 year old from Iran likely know that word? Etc... It does limit you at times, which is where it's tricky. You want to be able to show your prowess with writing but at the same time you are constrained to the voice of the child. We need to believe that a child is saying these words in order for us to benefit from the first person narration, otherwise, you may as well leave it in third person. A lot of writers manage a child's voice because they will use an adult's perspective to look back on their childhood - thus they can superimpose a maturity of vocabulary and perspective. If this isn't an option in your story, we need to look at other options. If you have the luxury of being able to communicate with a child about your story - maybe do so. For example, if you need to describe rain, and your neighbour is the same age as your protagonist, ask them: What does rain sound like? Perhaps you can talk with them about a few things just to attune your mind into the mind of a child, so you know what they aliken things to.
Another thing to consider is, yes you are confined to the vocabulary of a child for the most part, but there are a few ways around that. The way I see most fitting is by recognising the thought process of a child. So, even if you have to use the more sophisticated vocabulary, you might be able to adjust syntax in a way that creates a very "childish thoughtful process." I find that my nephew says "or" alllll the time. "Batman can fly over the top here and then you scoop him up. OR, OR, he can fly over the top and then be eaten by a dragon! orrrrr, he can..." It's this kind of excited way of putting pieces together that children have. This also reminds me, punctuation can make all the difference! Kids can sound excited about things, or very, very, sad about things.
I have to admit, I haven't written in the voice of a child for a long time so you'd need to take this with a grain of salt because I haven't practiced it, but I've read a lot of creatives with children's voices so hopefully this gives you some pointers! :)
Thanks a lot, Elyse!
Just a quick question--do you know the titles of any novels/short stories that include a child's voice?
Thank you :)
HEY ELYSEHey bholenath125, you can post your report if you like! You've gotten to 30 posts so you can have another set of feedback :)
Im working on my report and I was wondering if I posted it here, would you be able to provide me with feedback?
The Curious Case of the Dog in the Night uses an autistic child's voice I believe - it might be an interesting read. I can't think of others off the top of my head...every one I think of is third person narrator focusing on a child: Matilda, Great Expectations, Harry Potter (early books). They may be of some benefit to you too - but not quite as much. If I think of any more I'll be sure to jump back here!
Hey!
Do you have any tips on the report or any samples?
Thank you!
Hey Mary! Glad to have a fellow Ext2er around!
I have a few suggestions for this, some you may have already undertaken:
-Have a look at the marking guidelines for the Reflection Statement. You can see that here. The report is essentially a mini reflection statement in a lot of ways, the report is a way of preparing you for the reflection statement that's yet to come. See it as a polished draft, if you will! So looking at the guidelines for the reflection statement's marking will be useful for understanding the standard they expect.
-Also, have a look at the requirements of the reflection statement as this has a little checklist in there. It shouldn't really raise anything new, but I found it comforting to look at when I created my report so that I knew I had covered everything.
-If you're not sure about the language you're using, the structure...the ideas even, have a look at the State Library's collection of exemplar Reflection Statements here. Admittedly, when I first looked at these I felt like anything I had produced was ridiculously inadequate. Know that there are many ways of expressing things, but you might find some inspiration about what marker's respond well to by checking this out!
-Remember to recognise that the process of research and writing is flawed. You won't seem disorganised if you admit to changing your concept, or anything like that. The raw process of researching and writing is calculated, organic, stressful, creative, and disciplined all at once. You don't just have to draw on organised research, you can admit to organic evolution of your concepts if that is appropriate to your work.
-Don't be afraid to quote sections of your work to show exactly where your ideas have manifested in your major work!
Good luck...drop back any time :)
Hiya Elyse!
I have included quite a lot in my report (i have to condense it) , but was wondering what are the critical points that i must cover?
Thank you!
Hi,
I read The Book Thief, My Sister's Keeper and The Curious Incident of the Dog in the Nighttime in preparation for my major work, but have the feeling I shouldn't include these titles in my report since they don't seem sophisticated enough for the adv/ext 1 course. Please advise.
regards,
banana
Hey Mary!
I perhaps don't need to, but I want to preface this by saying I was the only person in my cohort who did Ext2, I was a class of one person, so it's possible that my experience of the course is different to other peoples. Because I only have my own work to bounce off, I hope I'm giving the right advice, seeing as it's not like I could look at my peers to see their approach! But as is the case with all feed back, you decide what you want to take on :)SpoilerMy major work examines Shakespeare’s characters Cleopatra from Antony and Cleopatra and Cordelia from King Lear through the lens of Romantic individuals Elizabeth Inchbald, William Hazlitt and Samuel Taylor Coleridge. The introduction of each character is unclear, maybe it's just because of the way it's reformatted here. Put the text's names in Italics or underlined so that we can tell apart the characters and their texts, just because it seems to be a bit jumbled and we can't have that happen so early on :) I arrived at this area of study through my readings of Joseph Ortiz’s Shakespeare and The Culture of Romanticism and Jonathan Bate’s The Romantics on Shakespeare, this allowed me to This language here makes sense, but it's not expressed in a sophisticated manner. Perhaps if you start a new sentence here, you can use nominalisation to your advantage. create an informed understanding of what Romantic critique consisted of and how it was applied to Shakespeare’s work. The focus on Shakespeare’s female characters has been quite neglected in history in literary history? critical history? Be specific here., however the new wave of feminism in the 21st century has brought Shakespeare’s female characters back to this implies that they were once at the forefront - were they? the forefront, but with a focus only on contemporary and 20th century critique. Within Romantic critique there was a concentration on Shakespeare’s women which was quite revolutionary for the era and it is imperative that this focus is revived in contemporary society I know it's small, but we've used "was" twice in this sentence. No huge deal, but being E2, expression is everything. I hope you don't think I'm being too picky, it's always easier to find faults in other people's work than your own! . Focusing on Romantic criticism offers something rich in the understanding of Shakespeare’s characters, the era’s evaluations have become quite forgotten and concentrating on this lens provides a view that informs character criticisms. The examination of the development of Romantic criticisms through different periods in the era provides various informed scopes for the evaluation of the characters. This analysis, using Romantic precepts attempts to grant validity to the female experience and representation of human characters. The journal the Shakespeare Quarterly is a peer reviewed journal, renowned for its publication of essays at the forefront of Shakespearean studies. Its concentration on scholarly essays investigating new perspectives on Shakespeare’s work provides an audience for my major work, which evaluates his characters using the Romantic lens.
My initial research focussed focused*upon the form of character criticism that the Romantics delighted in. Reading essaysupon Romantic criticism such as George Mosse’s The Culture of Western Europe and Arthur Kirch’s Shakespeare’s Humanism reaffirmed a clear understanding of why the Romantics revered Shakespeare, highlighting that the Romantics centred their attention upon the internal condition of individuals and the analysis of the individual’s emotions. Prior to commencing my major work, I had an understanding of Romantic philosophies and precepts, however my research made me aware of its potential relevance and application to the critique of literature. My interest in Romantic critique grew as I researched essays written in the Romantic era, such as John Keats’ The Poetical Character and Samuel Johnson’s Dedication to Shakespeare which directly interacts with Shakespeare’s characters and Romantic perspectives upon them, Johnson remarking that “Shakespeare’s excellence was not the fiction of a tale, but the representation of life; and his reputation is therefore safe till human nature shall be changed.” I also came across peer reviews of Romantic essays written by Elizabeth Inchbald, William Hazlitt and Samuel Taylor Coleridge, such as Karen Gervitz’s Elizabeth Inchbald; Shakespeare Criticism, Francesca Saggini’s The Art of Fine Drama: Inchbald’s Remarks for The British Theatre and the Aesthetic Experience of the Late Eighteenth Century Theatre-Goer, Jonathan Bate’s William Hazlitt “On Siddons, Kemble and Kean” and James Engell’s Coleridge, Johnson and Shakespeare. This piqued my interest into the development of Romantic criticism on Shakespeare, Inchbald providing a bridge between Neoclassic Criticism and Romantic understanding, Hazlitt capturing Humanist and Romantic perspectives, whilst Coleridge forming the epitome of 19th century Romantic critique. This interest caused me to explore their own essays in order to garner knowledge on their precepts and preoccupations of Shakespeare’s characters. Elizabeth Inchbald’s remarks on Shakespeare’s characters in The British Theatre provided an understanding of her observations which grant validity to the female experience within the Romantic era. Hazlitt’s Characters of Shakespeare’s Plays also focussed upon Shakespeare’s female characters as capturing women with internal machinations. Coleridge’s criticism within his letter On Shakespeare’s Characters prefigured psycho-analytical readings of literature. This research shaped my major work, creating a discussion of Shakespeare’s characters through the development of Inchbald, Hazlitt and Coleridge’s critique-which reflects different periods of Romanticism. Until this last sentence, you've just listed research without actually making the strong connections. I think we need to revise the way you've approached this. Similar to an essay, you make a point and then you link. Here, you need to make a point of your research but then link it as well to the way your major work is right now. Directly link the exact point your major work is up to now, to the research. Like, if in paragraph 3 you've espoused a marxist reading on top of romantic critical theory (hypothetical), then you would say that came from the reading of blah blah. Specifically talk about how each text influenced your work and where it did, and to what degree.
Having attained this foundational understanding I began searching for potential characters in Shakespeare’s texts. Through my readings of Inchbald, Hazlitt and Coleridge I discovered their fascination with Cleopatra from Antony and Cleopatra. Each individual had a unique lens upon Cleopatra as they represented the different periods within Romanticism. In Inchbald’s Preface to Antony and Cleopatra she focuses upon Cleopatra’s emotion and insecurities as rendering her with human qualities-a culmination of Neo-classist and Romantic critique. Hazlitt’s notion of Cleopatra’s character revolving around the dichotomy of the political, powerful queen and yet the seductive woman driven by emotion transcends Inchbald’s evaluations to provide Humanist and Romantic critique. Coleridge's note which was made for a lecture in 1818 on Antony and Cleopatra revealed his opinion that “perhaps of Shakespeare’s plays, the most wonderful is Antony and Cleopatra.” Coleridge’s evaluation of Cleopatra represents the height of Romantic critique remarking that “the sense of criminality in her passion” reveals the Romantic preoccupation that “depth and energy” within emotion renders an authentic human experience. The development of criticism on Cleopatra within the Romantic era significantly shaped my major work as it allowed me to analyse Cleopatra through a development of Romantic readings and the differing perspectives on the representation of her humanity. This formed a structure of my analysis, to focus on Cleopatra in light of each individual and create a sustained Romantic evaluation. So what did this offer that other texts couldn't? You're making the connection stronger in this one, but we need to be more evaluative now :) Was this pivotal in your work? You need to be more critical of your own research (which I know is tricky!).
My knowledge of Hermione from The Winter’s Tale greatly assisted in my choice to contrast Cleopatra with Hermione, still using the Romantic individual’s criticisms. Hermione and Cleopatra were both queens and had similar roles within their respective monarchs, however there was a stark contrast in personality, Hermione being quite reserved and Cleopatra a vivacious, vibrant character. Phyllis Rackin’s Shakespeare and Women and Juliet Dusinberre’s Shakespeare and The Nature of Women provided significant insight into the analysis of Hermione. However, despite my extensive research, I came to a realisation that Hermione did not represent a character which embodied Romantic fascination and that Romanticism instead focused on the character of Cordelia form King Lear. This realisation led to a change of route in my major work as I chose a different character in order to render an authentic Romantic reading of Shakespeare’s female characters. Unfortunately, this decision was made very late in the term and impacted upon my ability to extensively research Cordelia. Nice! Good critical thinking. I am aware, however, that King Lear was an incredibly popular play and has sustained its popularity into the 21st century. My knowledge that the Romantics revered Cordelia was supported by the alteration of King Lear’s ending in the 19th century, the Romantics deciding that Cordelia should not die because they believed such a wonderful and moral character did not deserve that ending. Therefore, the direction of my major work changed, however this ensures that it does reflect Romantic evaluations and criticisms of Shakespeare’s characters in order to create an authentic major work.
I chose to write a critical response as the form of my major work because this was the most effective instrument for the analysis which I desired to undertake. Despite having initially explored writing essays in the style of Elizabeth Inchbald, my final decision to utilise a traditional, objective, formal tone was determined by the strongly academic context of my response, particularly in my application of Romantic criticism. Beautiful! Very good! I was influenced in my decision of this structure by Joseph Addison’s On the Essay Form and Richard Amacher’s The Essay, which highlighted that a complex subject matter mandated an academic approach. Great! Furthermore, because the intended purpose of my response was investigative, I chose to write in third person. As my investigation progressed, I decided to structure my essay into sections to encapsulate the various criticisms of the Romantic individuals and their representations of the different periods of Romanticism for each female character. This structure not only provides different analyses per section of the humanity in each character but also allows a clear progression of Romantic critique and ideas. Your best paragraph...you are so critical and evaluative here, making direct links between different people/works and your own work.
My intended purpose, that is, the examination of Shakespeare’s female characters Cleopatra and Cordelia through the lens of Romantic critique from the individuals of Elizabeth Inchbald, William Hazlitt and Samuel Taylor Coleridge has been clearly shaped by the aforementioned area of investigation in Romantic criticisms of literature, particularly Shakespeare’s work. Long sentence girlfriend! I'd split it into two sentences, the first saying "The research of blah blah and blah has clearly shaped my major work. The evolution of my purpose has come to a point where it now clearly is: *say intention*" Something like this, split them up :) Autonomous investigation has played an integral role in the major work progress and has furthered my conceptual development in numerous areas as well as inspiring the form and nature of my essay.
I think you've done a great job, and the E2 report is difficult because you really need to use every single word strongly. Every word has to have a meaning and an intention - and you've got some great examples of that, but there are some parts where analysis is required to make a stronger account. I've pointed out the parts where I think you've done an excellent job of being critical of the process - hopefully it all makes sense to you! Again, take it all with a grain of salt, but I hope this gives you a step in the right direction :)
hey! my teacher keeps telling me that my work is going off on tangents. does anyone have tips to refine 'it'?
Hi Elyse,
I just wanted to thank you and express my sincere gratitude to you and this website!! I got my extension 2 report back today, after the preparation, editing, drafting, researching and then rewriting and redrafting in accordance with your feedback I got 14/15 (which, with my teacher is the best you'll ever get to be honest)! If it weren't for your feedback and your help I would not have gotten anywhere near that mark!
So thank you, thank you so much to yourself, to Jamon and to AtarNotes. I really, really appreciate it!
Mary x
Mary I'm so thrilled to hear this! I love it when hard working students get the marks they deserve. You edited your work to perfection. So happy for you! Thanks for being around :)
Hi Elyse!
Was wondering if you could check my report and especially comment on whether I need more information regarding the texts/novels I have mentioned. Also, my teacher insists on us including links to both adv and ext 1, so I have to work in the ext 1 part right now, deleting some bits without compromising the quality. Do you think the subheadings make it easier to read/follow or should I remove them? Thank you so much :)
Hey bananna, just dropping in to say I haven't forgotten, I've just left this one until I have the time to sit and properly focus on it, which will be later today (Italian time though, so maybe in the unheavenly hours of Monday morning for you). But will be back to you shortly! :)
Hey bananna, just dropping in to say I haven't forgotten, I've just left this one until I have the time to sit and properly focus on it, which will be later today (Italian time though, so maybe in the unheavenly hours of Monday morning for you). But will be back to you shortly! :)
Thank you!My thoughts are in the spoiler :)
And, I wrote this paragraph, but removed it because my tutor said it doesnt add much to my piece and I needed to cut down.
Wanted your opinion of it :)
thanks :)
Hey there,
I'm looking for some help, and since I know that this is the place to come for that, I'm here! :)
I have my Ext 2 Report due later this term and our teacher gave us an outline of what to include:
- Introduction
- Details of research undertaken. This should be specific. Expand on three or four significant pieces and their contribution to the development of your MW.
- Details of the meetings and feedback with all of your mentors
- Conclusions
But I really want something more detailed than this follow, are there any or subheadings or pointers of where I should write what like "must include points", that you can give me? Also how much do I write for each of the points above? The word limit is 1500 and I have no idea where I should allocate the words.
Thank you so much for your help!
Hey Mary! Glad to have a fellow Ext2er around!
I have a few suggestions for this, some you may have already undertaken:
-Have a look at the marking guidelines for the Reflection Statement. You can see that here. The report is essentially a mini reflection statement in a lot of ways, the report is a way of preparing you for the reflection statement that's yet to come. See it as a polished draft, if you will! So looking at the guidelines for the reflection statement's marking will be useful for understanding the standard they expect.
-Also, have a look at the requirements of the reflection statement as this has a little checklist in there. It shouldn't really raise anything new, but I found it comforting to look at when I created my report so that I knew I had covered everything.
-If you're not sure about the language you're using, the structure...the ideas even, have a look at the State Library's collection of exemplar Reflection Statements here. Admittedly, when I first looked at these I felt like anything I had produced was ridiculously inadequate. Know that there are many ways of expressing things, but you might find some inspiration about what marker's respond well to by checking this out!
-Remember to recognise that the process of research and writing is flawed. You won't seem disorganised if you admit to changing your concept, or anything like that. The raw process of researching and writing is calculated, organic, stressful, creative, and disciplined all at once. You don't just have to draw on organised research, you can admit to organic evolution of your concepts if that is appropriate to your work.
-Don't be afraid to quote sections of your work to show exactly where your ideas have manifested in your major work!
Good luck...drop back any time :)
I am doing a critical response into the changing archetype of vampirism in fiction.
Ive completed my major work, but I just want to know how to make the thesis explicitly appear in the introductory phase without being to direct and non-original.
So how do I strategically weave this idea into my introduction ??
Thanks
Hi Elyse!Hey Jess,
I was wondering if there is anywhere that I can post my extension 2 major work for marking, like you have for advanced and extension 1? I'd really love it if you could have a quick look over it, however I am a bit concerned about posting it directly on the forum (for plagiarism reasons :( ).
Thanks!
Jess
Hello :)
I was curious, if I do 4U English, can my major work be an appropriation?
Ty
Hello!
I'm getting towards the end of my project but I'm struggling a little with some of the finishing touches. I'm writing and performing a series of speeches and I was wondering if you had any opinions on whether or not sound effects are a good idea or if you have any advice about how to go about deciding.
Thank you,
Zoë
Hey there! I see no reason why it couldn't be provided you are within the bounds of appropriation and not plagiarism, obviously! What are you thinking about doing?
I'm thinking of doing a Sherlock Holmes' adventure. :D
Imitating Sir Arthur Conan Doyle.
If you think there may be issues of appropriating - this is where your journal becomes very handy. You need to be meticulous in your organisation of your notes, research, ideas, wording, and so on. I loved my journal, it was very therapeutic in my mind! So given the appropriation nature of your response - you need to be extra sensitive to making sure you are being very careful with your research in case anything is under scrutiny :)
I really hope I'm doing this right, technology is not my forte! So my speeches are set in 1970s Australia and they are all about social revolution at that time. I have one speech from a moderate right wing perspective about conscription for Vietnam, one speech about 2nd wave feminism and one about Whitlam's rise to power and the removal of paternalism in discussions of native title.
I think they're all persuasive, at least, that's what I'm going for. I got the idea for using sounds from one of the speeches performed at Showcase a couple of years back which really worked for his purpose.
Hello!
I've already finished my Major Work draft but I always find myself reading the Ext 2 forums for any additional tips, haha!
What I want to know is if there are any do's and don'ts for a creative, suite of short stories and how to push to get an e4 in Ext2? Are there any specific topics students should avoid writing about perhaps (cliche etc) that may bum down the "highly original" criteria of the major work? How insightful does one need to go into the concept and how clearly it should be linked without making it too obvious? Some common forms and structure of a work that is common etc?
Any tips would be extremely helpful and appreciate!
Thanks so much! :)
Hi Elyse!!
Can you please have a super quick read of my Major Work and tell me what you think?
Please tell me in general what I need to work on.
I have to hand it in for marking on the 21st of July.
I know that's a tiny amount of time so I completely understand if you are not able to do it by then.
Thank you so much!
bananna
Hi quick question for formatting!Hey there!
Is there a specific way of formatting footnotes in the reflection statement?
Currently I just have like the name of the person and the text. Do I need
to do the whole Harvard format for my footnotes?
Also I'm having issues articulating a specific phrase, I'm talking about how my work's thematic focus on identity and etc. makes it a
work that anyone can read. Obviously 'allows anyone to read my story' is way too colloquial so I was wondering if anyone had
a better word or way of phrasing this cos I'm a little stumped.
Hey there!Thanks so much!
In regards to footnotes, all you really need to do is the author, year of publication and title of the text, publishing info if you have it, as well as the chapter, page or line number if relevant. So for one of my footnotes, it looks like this:
"Nietzsche, Friedrich, 1986, “Human, All Too Human: A Book For Free Spirits” Volume 2, Cambridge University Press, Section 122, p. 241"
You save the whole Harvard formatting for your bibliography attached to the entire submission :)
With your rewording, had a little play around. Hopefully something like this can help you out:
"The universal thematic concern of identity extending throughout my text ensures its relevance across all audiences."
Best of luck! ;D
Hi Elyse ;D
So, Major Works are due soon eek! My short story is done and dusted, but I'm yet to completely finish my Reflection Statement. I wanted to ask if perhaps you could take a look at it and see if I'm on the right track please? Still have 305 words to play with, and I will still give it the brutal culling my Major Work received, so if you've got any suggestions I would really appreciate it.
Firstly, loved reading this. I can imagine your major work is very creative because the inspiration behind it is very impressive. I've just been referencing a checklist and there's a few things I'll bring up with you. Firstly, you'll need to number your pages. Secondly, I think the discussion of inspiration is exceptional - but your process seems flawless. Each time you read a new text, I don't get the idea that your concept or story was shaped, but it was like everything was researched at the beginning, and then the writing began and it was flawless. The discussion of the way independent research impacted your work as it evolved isn't really strong, so maybe this is an area for improvement for you? Whilst the way you've talked about the texts that influenced you, and the ideas, is good, the connection to the PROCESS of writing and the official outcome isn't clear.
I LOVE the bird quote and discussion at the beginning. Incredibly unique and creative!
Hi Elyse!
I got my ext 2 back from school (Australians All, the short story about refugees) and I got 36/40, the main comments about syntax and punctuation, also footnoting. I was quite happy with that. However, for my reflection, I got only 8/10. I'd like to raise this mark to at least 9. (please help me achieve this!!!!)
Thank you for your comments about my MW, I'm trying to implement those changes, but I have trials right now!!!!
Attached is my reflection statement. Could you please take a read and leave some comments if you have the time?
My teacher and mentor's main concerns lie in the structure of it. So please please help me in restructuring it.
THANK YOU SO MUCH! :D
Thanks heaps for taking the time to read through it, I really appreciate it! :)
Added in page numbers now, just an oversight on my part sorry. Right, yep I see what you're saying. So basically make it seem like more of a real process then, how the research shaped the idea over time? Even though the overall basis for my story didn't change drastically from the beginning of the course. I mean, the entire story changed HEAPS with drafts and revising and such, started off writing in first person before abandoning that and taking the third person approach etc. but I preferred to gather the majority of my research before I even put pen to paper, so that I knew I had a strong direction to take the story in. Would that be viewed negatively do you think, or just make my process really clear?
Heyyyy,
Major Works are due tomorrow, so I was wondering whether the stated word limit includes quotations? I'm about a hundred words over the limit for my MW at this point, so I won't have to cut anything if the word count were to exclude quotations. The NESA documentation isn't definitive on this, so any clarification would be useful.
Thanks!
Heyyyy,
Major Works are due tomorrow, so I was wondering whether the stated word limit includes quotations? I'm about a hundred words over the limit for my MW at this point, so I won't have to cut anything if the word count were to exclude quotations. The NESA documentation isn't definitive on this, so any clarification would be useful.
Thanks!
Hi,
What would you say would be some topics or forms of text that should be avoided or at least tread carefully upon?
Thanks
Hi,
What would you say would be some topics or forms of text that should be avoided or at least tread carefully upon?
Thanks
Hi! As this is the first wek of year 12, I am currently in the stage of reading other critical essays and researching a potential topic.
I was wondering how many hours a week you would recommend working on the major work. Since it's not a traditionally 'creative' major, I think the issue will be time rather then writers block (seeing as I am currently doing 15 units).
Thanks!
Bella
Hi,
I'm considering doing a critical response to/critique of an author's work, but I was curious as to whether I should narrow my scope further. Also, as it is the first few weeks of the course, I'm doing research into the critical response form, particularly author critiques so I was wondering where I would be able to find good examples of this.
Hey,
I have just started the course and I'm still trying to pick my idea. I want to do short story or poetry (but mostly short story) and I wanted to focus on mental illness as a main theme. I've been told that its hard to get good marks when writing about mental illness because you're automatically put into a category of sappy/poorly written.
If I, hypothetically, wrote well and illustrated a good narrative would I still be put in that sappy category or would I, for lack of better words, look better compared to pieces that are actually poorly written.
I am open to changing my idea because of the personal opinions of markers but am really passionate about the topic and just really want some straight forward advice
Thank you so much!!!
What are both your subjective and objective views on doing a series of short stories or recounts of seemingly separate events, about interactions with 1 person, with the last one revealing that they are all related?
For the MW
Will it effect my internal marks if I have a teacher who really, really, REALLY doesn't like me?
Hello and welcome to the forums! Here to give straight forward advice :)
If it is well written - you cannot be put in a category that sees you as poorly written. If it is well written, the piece will be evocative, extraordinary, and your passion will spill through, and it will not be seen as sappy.
You could claim my own short story explored mental illness through the lens of an oedipus complex, but it didn't stop me from getting an E4. So I'm not concerned by your topic matter right off the bat. Your plot and writing style will contribute to the overall reception moreso than just the idea that is centralised :)
Thank You! She is the only Ext 2 teacher (As we only have 2 students in the class. But nonetheless I will try my absolute best in the course and be very polite and extra nice.
My only current problem is that as of now, I have no-one to send my practice exam questions and comprehension work to. Would it be overstepping to give this work to a different English teacher within the school for marking?
Hey,
Just started EE2, and I'm looking into fictocriticism, but was wondering if AN had any exemplar major works or any readings that were advised for critical? I've read A Modest Proposal by Jonathan Swift and was wondering if there were any other essays that were good to discuss
Hey,
Just started EE2, and I'm looking into fictocriticism, but was wondering if AN had any exemplar major works or any readings that were advised for critical? I've read A Modest Proposal by Jonathan Swift and was wondering if there were any other essays that were good to discuss
Hey everyone, does anyone know what I could use for researching into form for scripts besides annotating plays?
Thanks in advance! :)
Hi justwannaish,
I'm doing a critical response for my extension 2 project and I haven't chosen what form my critical response will take. I've never heard of ficto-criticism before, is it possible if you could give me some sort of summary on as to what it is please?
Thank you~
From theyam
To anyone who hasn't done their Viva Voce:
Tip: Even if your teacher yawns, don't let that get to you at any time! Believe in your concept and just keep going!
From theyam~
How did your viva voce go? :)
Much better than I expected!! I got an A~
That sounds wonderful! Form is a big consideration with E2 and you've thought of a brilliant, unique idea. Execution would take a lot of thinking but it honestly excites me. Great idea :)
Hello, I just recently had my Viva voce. I was very excited about doing my series of short stories, but some feedback I got from the viva voce read " Once suggestion that came from the panel was that you have one story. They just though it would flow better as you have a twist at the end of a story, it would be more effective. It you do one story, think about the idea of a split narrative, one in first person, and one In third person"
Do you agree that It is more effective to do 1 narritvie when dealing with an allegory?
Hi! I was just wondering what the best way to investigate into form is. I'm doing a short story but don't know what materials to start with. I have a concept in mind for my story but I don't know how to work on it from there. Do you have any advice/ reading material you could suggest? Thank you so much! XOXO
Hi! I was just wondering what the best way to investigate into form is. I'm doing a short story but don't know what materials to start with. I have a concept in mind for my story but I don't know how to work on it from there. Do you have any advice/ reading material you could suggest? Thank you so much! XOXO
Would it be too much to have major work taking place over 1.2 days with a large amount of flashbacks and also short anecdotes about the protagonist between the chapters?
Would it be too much to have major work taking place over 1.2 days with a large amount of flashbacks and also short anecdotes about the protagonist between the chapters?
Are viva voces presented like a speech??? I have mine on Monday and I'm not too sure as to how I should go about presenting it.
Hi,
I have my report due sometime after the Easter break and one of the guidelines we need to answer is why we choose our title. While I finished a rough draft of my work, I have no clue what my title should be. Any ideas on how anyone else came with their own?
Hi,
I have my report due sometime after the Easter break and one of the guidelines we need to answer is why we choose our title. While I finished a rough draft of my work, I have no clue what my title should be. Any ideas on how anyone else came with their own?
Hello,
I honestly just went through goodreads for inspiration. They have endless pages of quotes written by very good writers. Hope it helps, also do you have any idea on how to structure your report? Because I don't.
From theyam
Hey,
A mate of mine who did a critical response of 4 films took a quote from one of them and re-appropriated it as his title, so perhaps you could use a research text quote as a title too. Also, attached to my post is a document my teacher created to help us structure our report which was due last term.
Hope that helps
Hello, I have just finished my major work Draft.
I'm doing a short story but I noticed that my major work is made up of 15 small chapters and one big one. I was wondering if small chapters like that are looked down upon when marking.🙂
hello
was just wondering how I can post something into the notes section, I received 15/15 for my report and I wouldn't mind sharing.
Does anyone know how the reflection statement should differ from the report ?
In my story, I have a bunch of non-English words which my teachers have told me aren't fully understandable. I don't want to use too many footnotes otherwise the story won't flow as nicely. Any suggestions as to what I could do?If it's within dialogue, you could maybe use it and then translate it through another character?
In my story, I have a bunch of non-English words which my teachers have told me aren't fully understandable. I don't want to use too many footnotes otherwise the story won't flow as nicely. Any suggestions as to what I could do?
Hope everyone's finishing up on their works for submission this week!
Hi,
I'm in Year 12 and doing EX2.
I am doing a critical response but I am not sure how to format it and how to break up the response?
Should it be divided into three parts? I just want to know the general structure, that's all haha~
THanks!