Unit 3 English: Developing your Creative Response Booklet 2020

CRANBOURNE CAMPUS

Teacher: Catherine Hart

On Thursday 23/4/20 you will complete your first SAC which is a creative response to Roald Dahl’s Tales of the Unexpected. This booklet contains information about:

PART A: Tales of the Unexpected – how to develop analytic understanding of Roald Dahl’s Short Stories with reference to three particular stories (Landlady, Lamb to the Slaughter, Way up to Heaven and Skin)

PART B: Developing your creative response

PART A: Developing an analytic understanding of Tales of the Unexpected

STEP 1: Become familiar with the author and the background of the text

Roald Dahl was born September 13, 1916, in Llandaff, South Wales, United Kingdom, to Norwegian parents. He spent his childhood summers visiting his grandparents in Oslo, Norway. He was a mischievous child, full of energy, and from an early age he proved himself skilled at finding trouble.

After his father died when Dahl was four, his mother followed her late husband's wish that Dahl be sent to English schools. Dahl first attended Llandaff Cathedral School, where he began a series of unfortunate adventures in school. After he and several other students were severely beaten by the principal for placing a dead mouse in a storekeeper's candy jar, Dahl's mother moved him to St. Peter's Boarding School and later to Repton, an excellent private school. Dahl would later describe his school years as "days of horrors" filled with "rules, rules and still more rules that had to be obeyed," which inspired much of his gruesome fiction.

After graduating from Repton, Dahl took a position with the Shell Oil Company in Tanganyika (now Tanzania), Africa. In 1939 he joined a Royal Air Force training squadron in Nairobi, Kenya, serving as a fighter pilot in the Mediterranean during World War II (1939–45). Dahl suffered severe head injuries in a plane crash near Alexandria, Egypt. Upon recovering he was sent to Washington, D.C., to be an assistant air attache (a technical expert who advises government representatives). There Dahl began his writing career, publishing a short story in the Saturday Evening Post. Soon his stories appeared in many other magazines. Dahl told Willa Petschek in a New York Times Book Review profile that "as I went on, the stories became less and less realistic and more fantastic. But becoming a writer was pure fluke. Without being asked to, I doubt if I'd ever have thought of it."

In 1943 Dahl wrote his first children's story, The Gremlins, and invented a new term in the process. Gremlins were small creatures that lived on fighter planes and bombers and were responsible for all crashes. Through the 1940s and into the 1950s Dahl continued as a short story writer for adults, establishing his reputation as a writer of deathly tales with unexpected twists. His stories earned him three Edgar Allan Poe Awards from the Mystery Writers of America.

In 1953 Dahl married Hollywood actress Patricia Neal, star of such movies as The Fountainhead and, later, Hud, for which she won an Academy Award. Although the marriage did not survive, it produced five children. As soon as the children were old enough, Dahl began making up stories for them each night before they went to bed. These stories became the basis for his career as a children's writer, which began seriously with the publication of James and the Giant Peach in 1961. It tells the fantastic tale of a young boy who travels thousands of miles in a house-sized peach with as strange a group of companions as can be found in a children's book. Dahl insisted that having to invent stories night after night was perfect practice for his trade, telling the New York Times Book Review : "Children are … highly critical. And they lose interest so quickly. You have to keep things ticking along. And if you think a child is getting bored, you must think up something that jolts it back. Something that tickles. You have to know what children like.

Dahl's children's fiction is known for its sudden turns into the fantastic, its fast-moving pace, and its decidedly harsh treatment of any adults foolish enough to cause trouble for the young heroes and heroines. Similarly, his adult fiction often relied on a sudden twist that threw light on what had been happening in the story.

Roald Dahl died in Oxford, England, on November 23, 1990.

STEP 2: Read through a short story - and complete comprehension questions

It is very important that that you do not merely assume the meaning of unfamiliar words – learn to use a hard copy dictionary to look up words as this is what you will have with you during the VCE English Exam. make sure you answer questions deeply and meaningfully.

STEP 3: Develop a plot diagram

This requires you to consider the important events/challenges/crises/breakthroughs in the story - you may like to consider the following [setting/exposition - rising action - climax - falling action (denouement) - resolution] although this is not always easy when mapping short stories. Use a template like that shown below:

STEP 3: Annotation and note taking

Unlike "highlighting," which is a passive activity, the process of annotating text helps you to stay focused and involved with your text. You'll find that the process of taking notes as you read will help you to concentrate better. It will also help you to monitor and improve your comprehension. If you come across something that you don't understand or that you need to ask your teacher about, you'll be able to quickly make note of it, and then go on with your reading. 

Some techniques that you can use to annotate a text: 

• Underline important terms, circle definitions and meanings. 

• Write key words and definitions in the margin. 

• Ask questions 

• Signal where important information can be found with key words or symbols in the margin. 

• Write short summaries in the margin at the end of chapters/scenes. 

• Write the questions in the margin next to the section where the answer is found. 

• Indicate steps in a process by using numbers in the margin. 

• Make predictions 

• Formulate opinions and make connections 

• Analyse the author’s craft - what, how and why is the author constructing the text? 

• Write reflections/reactions/comments 

• Look for patterns/repetitions 

After reading: 

• Reread annotations – draw conclusions 

• Reread introduction and conclusion – try to figure out something new

• Examine patterns/repetitions – determine possible meanings 

• Determine what the title might mean 

Annotating is a writing-to-learn strategy for use while reading or rereading. Annotating helps readers reach a deeper level of engagement and promotes active reading. It makes readers have a ‘dialogue with the text’ - a visible record of the thoughts that emerge while making sense of the reading

STEP 4: Highlighting

You do this AFTER annotation - highlighting is now about identifying key quotes or ideas that can be used as evidence and or an impetus/inspiration for your writing

STEP 5: Analysis

a) Characterisation

Character 1:

Character 2:

Role: Protagonist

Role: Antagonist

Personality:

Personality:

Experiences:

Experiences:

Turning points/crisis:

Turning points/crisis:

Decision/s made:

Decision/s made:

Actions taken:

Actions taken:

Themes and Ideas explored:

Themes and Ideas explored:

Quote/s:

Quote/s:

b) Narration

Narrative point of view (POV)

c) Structure – identify the structure of the story – see possible structures below:

All short stories, regardless of individual structure, include characterization, conflict and resolution, but exactly how the author chooses to bring together each of the story’s events and elements and then reveal them to the reader is called the story's narrative structure. The short story genre reveals many patterns and subgenres of narrative structures; some are familiar and comfortable, while others are innovative and fresh.Throughout literary history, authors have introduced, modified and created many different kinds of narrative structures. 

Linear Narration 

Linear stories are the most common of the narrative structures. A linear short story is written in chronological order with little or no variation. Most linear short stories do not include flashbacks or dream sequences, but relate the story as it is happening. Focus remains in the present, rather than the past or the future. Guy de Maupassant’s “The Necklace” is an example of a linear story. The short story opens with Madame Loisel’s desire for fame and wealth, and in sequential order, de Maupassant reveals the character's flawed attempt to achieve status followed by the sad consequences of her misdirected desires. The short story concludes with a dramatic and ironic revelation and quick resolution, which is a common technique for linear short stories. 

Flashbacks and Stream of Consciousness

 Short stories written in nonlinear narrative structures are not concerned with chronological sequencing of events. This technique often portrays stories of one’s youth, such as personal growth or innocence lost, using flashbacks and time-altering devices. For example, W.D. Wetherell’s “The Bass, the River, and Sheila Mant” opens, “There was a summer in my life when the only creature that seemed lovelier to me than a largemouth bass was Sheila Mant. I was fourteen.” The past tense and reference to the narrator’s young age indicate the story is a flashback. Stream of consciousness narrative structure -- in which an author pays no heed to time, outside stimuli or traditional conventions -- is also nonlinear. James Joyce, Virginia Woolfe and William Faulkner often used this technique. 

Parallel and Frame Structures 

Parallel and frame stories use narrative structures that rely heavily on the role of the narrators to convey layers of meaning. Parallel structure refers to two distinctly different, yet closely related storylines that occur simultaneously. For example, in Homer’s “The Odyssey,” Telemachus searches for his long lost father, as Odysseus journeys home to be reunited with his son. Similarly, frame stories -- also called frame and embedded narratives -- consists of many smaller stories within the context, or frame, of a larger story. Each of the narratives within the frame can usually stand individually, but has more meaning when analyzed alongside the larger story. For example, Chaucer’s “The Canterbury Tales” as a whole follows a group of pilgrims, with individual pilgrims’ tales told along the way. 

Circular Stories 

A circular narrative will conclude where it began. Rather than pulling together the remaining remnants of the narrative with a neat conclusion, a circular narrative brings closure through a return to the theme and material introduced at the beginning. Writers achieve this with literal repetition of phrases or syntax from the start or returning the narrator to a setting of importance. Sometimes authors return more generally to an important idea or theme that was introduced early in the story. James Thurber’s “The Secret Life of Walter Mitty” is an example of a circular narrative, as the short story concludes with Mitty escaping his mundane life in another fantasy, just as the story opened.

d) Style

Sentences - length and structure

Write some of your own sentences in the author’s style

Word choices - vocabulary

Slang, idioms, formal phrases?

Dialogue

How is it used?

Imagery

Symbols are used to convey emotions, themes and other information

Evocative language

Tone and mood

How does the text sound overall?

Does the tone change?

Overall mood?

Figurative language

Are there any special language features used? Personification, irony, alliteration, jargon, metaphors, hyperbole etc

e) Views and values

Every text has underlying views and values - qualities that are important according to the author. We express our views and values through our thoughts, feelings, actions and beliefs.

1. What are the key values prevalent in the short story you are are analysing?

2. Do different characters in the short story demonstrate different or contrasting values?

3. Are characters aware of others values?

4. Do the values characters hold change as story reaches climax? Why? To what effect?

f) Themes

Identify key themes and generate and complete a themes table

Theme

How theme is explored in the short story you are analysing

g) Symbols and motifs

Identify symbols and motifs and add these to a table like the one below

Symbol or Motif

How symbol/motif is evident in the short story you are analysing

STORY 1: The Landlady

STORY 2: Lamb to the Slaughter

STORY 3: The way up to heaven

Story 4: Skin

PART B: The Creative Response

The Creative Response SAC

(VCAA Study Design, 2016, p18)

Students present sustained creative responses to selected texts, demonstrating their understanding of the world of the texts and how texts construct meaning. In developing a creative response they:

· explore issues of purpose and audience and make key choices about structure, conventions and language

· develop a credible and effective voice and style and use the chosen features of the selected text, for example characters, narrative or dialogue, to offer an interpretation of the selected text. 

· produce and share drafts, practising the skills of revision, editing and refining for stylistic and imaginative effect

The following elements of creative writing are assessable and should be incorporated into your writing:

· Protracted and significant reference to a specific theme (given on the day of the SAC as a constraint)

· Your writing should show a detailed knowledge of the text. (historical/geographical background, setting, characters, filmic references)

· At least one symbol/motif (as a constraint) needs to be included into your writing.

· An understanding of the characters you are writing about (points to authenticity)

· An understanding of the relationship/s (including unwritten innuendo)

· The development of your own narrative voice.

· An understanding of key moments in the text and creating/embellishing your own key moments.

· Expressive (descriptive), fluid and coherent language choices.

· The exploration of specific ideas or values, related to the theme you are exploring.

· Your response should above all, be interesting and authentic! It should not be far-fetched and difficult to follow or lacking in fluidity!

What is a creative response? 

(Insight English 12, p72)

A creative text response gives you the opportunity to show a detailed understanding of the the world of a text in a more imaginative way than an imaginative way than an analytic essay might. It is also an opportunity to explore what you love or or find intriguing about your text. What unanswered questions do you have? Which characters did you find the most interesting, multidimensional or engaging? Do you agree with the values expressed by the text? Which aspects of the language do you enjoy? 

It is easy to feel that creative writing is just the result of spontaneous, stream of consciousness inspiration. However, for this kind of focused creative writing task – and while there are certainly elemsnts of inspiration – careful planning, thinking and drafting are essential. Remember that the purpose of this task is to demonstrate your close knowledge of a text, so first you will need to develop a detailed and sophisticated understanding of it. 

The process of writing an effective creative text response 

1. Know and understand the text (Rear Window) 

2. Deeply consider the text in relation to its ideas, values and language (this means you need to have a detailed understanding of characters, plot, themes, symbols & motifs, stylistic choices etc)

3. Make a considered decision about the FOCUS of your response – you should consider the characters, event and themes you are focusing on. 

4. Choose a FORM that is capable of imaginatively exploring your FOCUS and with which you are comfortable.

5. Plan your response (see planning suggestions on following pages) – you should be considering your written explanation as you plan your creative response.

6. Draft your creative response using your planning notes.

7. Review the drafts. Writing is a process – you need to draft your writing – seek feedback – and redraft in view of feedback. Pay particular attention to the relationship between the text and your response and whether you have substantiated the use of form in your written explanation. 

Choosing a FOCUS for your creative response

Ticking Minds (2015) The Senior English Writing Handbook

In responding creatively to a text, you can choose to write a piece that is set 'within the world of a text' or 'outside the world of a text'. Responses set 'within the world of the text' use actual characters, settings and events from the novel, short stories or play you are responding to. Typically, this would involve writing a new scene or rewriting a scene from the text in the same style as the author but from a different perspective to the one the scene was originally written in.

Creative responses written 'outside the world of the text' involve students coming up with their own, unique story ideas, characters and settings that are not from the text. Though set outside the world of the text, these stories must meaningfully connect to the text being responded to.

This means the stories must explore ideas and employ literary devices and techniques which are found in the original text.

I strongly advise writing a piece that is set within the world of the text. If you feel you have a strong analytic understanding of the text, you may of course consider (in consultation with me) writing outside the world of the text. There are a range of ways in which you can write “within the world of the text are: 

· write a piece that could be added to the text (e.g. a 'lost scene' that fits in between two moments, or something that happens before or after the main plot,) which would

· rewrite a part of the text by changing some key detail(s)

· rewrite a part of the text by telling it from a different point of view, or changing the narrative voice, which would involve the construction of a believable new perspective, and for a good reason (i.e. you couldn't just retell things from someone else's point of view without fleshing out that character and providing insight into some idea that the original text does not.)

How to choose an appropriate FORM for your creative response 

Form for Creative Assessment

Form

Common Uses

Common Features

Speeches

· Exploring central ideas and values in an explicit and persuasive way

· Giving voice to a powerful character who carries authority and commands attention

· Expressing a character’s views as they would state them in a public forum

· First-person voice

· Engaging opening to capture attention and a powerful/memorable concluding statement

· Clear contention and logical argument with obvious signposting

· Simple, clear sentences and ideas broken into smaller concepts, sometimes includes sentence fragments

· A range of persuasive strategies and techniques (see your Insight textbook) to show you care about your audience (e.g. – directly addressing them, appeals for their support)

Reflections: can include internal and dramatic monologues

· Describing emotional or physical journeys

· Reflecting characters’ feelings – usually not intended for others to read/hear

∙  Reflect personal thoughts in first-person voice

∙  Language should reflect the characterisation in the original text, e.g – may employ language in a highly stylised waym including sentence fragments, unconventional sentence structures, colloquial language, symbols or visual elements

Scripts

· Relate missing conversations

· Giving voice to marginalised characters

· Showing interactions between characters with distinctive voices

· Adding scenes to plays

∙  Short opening set scene, then largely dialogue

∙  Some stage directions with actors’ directions and limited descriptions of action, set and props

∙  Divided into acts and scenes

∙  Dialogue may use sentence fragments, unconventional sentence structures and colloquial language to reflect everyday speech

∙  Dialogue should reflect the characterisation and cultural context

∙  Specific layout – scripts are written slightly differently for different formats, so research how to set out your specific type of script

Short Stories (can include prose descriptions and narrative excerpts)

· Adding new scenes, especially filling gaps in the plot

· Exploring a specific moment in a text told in a different form

· Exploring a moment that requires narrative description, dialogue and a character’s thoughts

· Exploring the conventions of a specific genre or style of writing

∙  Focus on a specific moment or event

∙  Often told from one point of view

∙  May include dialogue

∙  Create vivid descriptions based on senses

∙  Reveal information slowly to build suspense or tension

∙  Include an exposition, rising tension, climax and resolution

∙  Feature only a couple of characters but focus primarily on one

∙  Use symbolism, imagery and figurative language

Developing an effective creative response: Creating layers of meaning

1. First rule: “show not tell”; there is a tendency to overwrite and over-explain.  You must give your readers an opportunity to think and reflect.

2. The use of dialogue: sparsely used dialogue is often a shortcut to a person’s thoughts and feelings, mannerisms and body language. Remember your “tone” words from language analysis.

3. Your creative piece needs conflict/tension. This might be between two characters; (relationship-based) or it might be a character’s dilemma.

4. Main character: it is important to achieve depth when sketching characters. This is often achieved by depicting idiosyncratic and/or contradictory behaviour, attitude, emotions and actions.

· Find ways to inject complexity into a character by placing them in a dilemma 

· For this reason, be careful of those text types which are limited: eg. eulogies are by nature restricted; they are a heartfelt, usually positive tribute to a deceased person. You can, but it is difficult, to convey complexity.

5. The use of embedded stories and flashbacks help to build complexity and added perspectives

6. The use of imagery/symbolism/extended metaphors 

7. The use of setting and landscape as a symbol or reflection of character

8. The use of comparisons and juxtapositions in a text

9. Character changes and development

Planning your response

You need to go beyond a literal interpretation of the text, which is just following the exact words of the text and is a lower order thinking skill. Plan to create a fresh, new understanding which will enhance yours and other’s knowledge of the text. Allow yourself time and space to think about the text and your response. 

To do this you may like to:

· Identify a range of gaps and silences in the film, and possible adaptation opportunities - complete a PMI (plus-minus-interesting) chart 

· Identify a range of questions you have as a result of viewing the film

· Consider the genre of YOUR SELECTED SHORT STORY - is this a point of interest or connection with you? Why? Why not?

· Consider the plot of the film or narrow your focus to a specific event or scene

· Consider key themes in YOUR SELECTED SHORT STORY and your own knowledge and experience of these - do some resonate more than others? 

· Consider key motifs and/or symbols and how these could contribute to your focus/be used to further develop your response

· Consider characters in YOUR SELECTED SHORT STORY - do some interest you/intrigue you in terms of their experiences or ideas as portrayed in the film? Do you have questions of or for these characters? What are they? Choose the most interesting character. What does this character seek? Are there different sides to their personality? What are they? Try sketching these. Choose a minor character, one who is rarely mentioned, and develop his/her story.

· Consider the point of view that is privileged in the story - Whose? When? Where? How? Why?

· Consider what FORMS your response could take and identify a FORM that will allow you to most effectively explore your FOCUS

Developing your written explanation/reflective commentary/statement of intention 

This is NOT an after-thought (it is worth one third of the mark for your Creative Response SAC)

It should be 300 words in length 

Some questions that may be a useful starting point are: 

· Explain the inspiration behind your piece. Which story or stories inspired and informed your writing? Explain your choices.

· How have you developed the impression of characters in your piece? Use evidence including authorial craft to support your answer.

· Which ideas and narrative strategies were you trying to mirror from the original text? How does your piece explore these ideas?

Some other questions that you may find useful in preparing your written explanation are: 

· Why did I choose that form of response – eg short story, poem etc

· Why did I choose that particular part of the text on which to base my response?

· What are the main ideas in the text that I have used in my response?

· How are these ideas conveyed differently or similarly to the text?

· What original aspects have I added. Why did I choose to do those, in relation to the text?

· Why did I choose that arrangement (if non-written) of my response? What is its wider significance?

· Why did I choose to use certain symbols?

SEE SUGGESTED TEMPLATE ON PAGE 21

Checklist Creative Response

Organisation and Content

· The piece has a logical structure

· The central idea is clear and is developed consistently throughout

· I have shown a detailed understanding of the original text

· I have referred to key moments in the original text to help contextualise my piece

· I have shown an insightful understanding of the original text’s characters

· I have used an appropriate structure for my chosen form

Style and voice

· The voice is consistent, engaging and appropriate to my chosen narrator (writer)

· The style of writing (formality and type of language) is consistent and appropriate to the form and audience

· The literary devices (techniques) achieve the effects that I intended

Language use: words, phrases and punctuation

· The vocabulary and sentence structures match the narrative voice

· There are no unintentionally repeated words or phrases

· All words and terms from the text are used correctly

· I have used quotation marks appropriately to indicate dialogue and or quotes

· Each sentence starts with a capital letter and ends with concluding punctuation

1

Suggested structure for Creative Response Written Explanation - CFLAP

PARAGRAPH 1

What? 

C

F 

Form

My creative response is a….

It fills a gap/addresses a silence/provides an alternate perspective on/of … 

Focus 

The focus of my piece is … introduce character and setting of your response 

Context 

Overview placement of your response in relation to original text 

PARAGRAPH 2

How?

L 

Language 

· Narration - first or third person? Why? 

· Inclusion of dialogue? Why/why not? 

· Stylistic choices - formal/informal language? Slang? Jargon? Reference to specific time period? Why? 

· Inclusion of quotes/references to original text? Why?

· Emotive language? Why? 

· Aim is to justify the authenticity of your piece as a response to original text 

· You MUST provide examples from your response to evidence your claims 

Symbols 

· Symbolism - names, objects or metaphors? Why? Link to original text? 

PARAGRAPH 3

Why?

A

Audience

Discussed through 

Theme 

· External audience (us - the people who watch or read the text) - what do we learn from your response? 

· Internal audience (characters in original text) - what do they learn from the insertion of your response into the original text? 

· Explicit reference to theme is required 

P

Purpose 

· Strong statement about purpose of response - it has to be further reveal/unpack the specified theme

· You should aim to demonstrate a sophisticated/nuanced understanding of the specified theme and make reference to the theme in the original text and in your response. 

SENTENCE STEMS AND RELEVANT METALANGUAGE

Context 

Why did I focus on this particular character/relationship/theme/event/issue/crisis point? 

Why did I include the ideas and examples I used? 

Why did these examples or this story seem relevant for my purpose?

Form

What was the format I chose? 

Why did this seem like the best format to choose? Justify in terms of context?

What does this format allow me to explore?

What insight does it allow the reader?

Language 

What kind of language have I used to write this response (formal/informal?  Sophisticated/simple? First/Third person? Through which persona do you channel your piece?)

What language techniques do you use (repetition, metaphors, symbolism etc) and why?

What is my style like and why does this seem to be the most appropriate way to write for my purpose?  

Audience 

Who am I writing for? (Who are your target audience?)

Realistically, why would this audience by interested in your work? (provide a convincing reason)

Purpose 

What was my purpose in writing? 

What was I trying to explore?What did I want the reader to understand about my ideas at the end? 

Consider the following sentence stems for your reflective commentary and create others:

I have chosen to write in the form of: 

Using this format, I have focused on language that is: 

I have made an effort to not write in language that is: 

The structure of the ... form requires me to: 

I have written my material for the audience of:

This audience may be interested in my content because of the following context:  

The purpose of my writing is to relate to this audience in the following way: 

My interpretation of the prompt has incorporated ideas that address the following concepts: 

The text has helped to inspire my writing by discussing the following themes: 

These themes were raised by the following events in the text: 

Final summary statement: After reading my writing I feel my audience will learn: 

With this information they may feel:

Linking Ideas and Themes

Most of the themes and ideas in Like a House on Fire are related to each other, and when you discuss the ideas as outlined above, you should find that some of the concepts will overlap during your brainstorm and discussion. If you want to demonstrate a deeper understanding of the short stories you will explore the links between these ideas and will, ultimately, be able to write a creative response that demonstrates their development of understanding. Using the ideas in the table below you should write a series of sentences that links the ideas and themes together in your creative response.

VCE ENGLISH AS AN ADDITIONAL LANGUAGE

SCHOOL-ASSESSED COURSEWORK

Performance Descriptors

Unit 3

Outcome 1

Option 2Produce a creative response to a different selected text.

DESCRIPTOR: typical performance in each range

Very low

Low

Medium

High

Very high

Limited understanding of the original text through reference to moments, characters and themes from the text.

Some understanding of the original text through reference to moments, characters and themes from the text.

Satisfactory understanding of the original text through considered selection of key moments, characters and themes worthy of exploration.

Clear understanding of the original text through thoughtful selection of key moments, characters and themes worthy of exploration.

Thorough understanding of the original text through insightful selection of key moments, characters and themes worthy of exploration.

Limited development of style by using language and literary devices, with little consideration of the original text.

Some development of style by using language and literary devices to generate responses, with some consideration of the original text.

Clear development of voice and style by transforming and adapting language and literary devices to generate responses, with appropriate consideration of the original text.

Considered development of voice and style by competently transforming and adapting language and literary devices to generate particular responses, with relevant consideration of the original text.

Skilful development of voice and style by carefully transforming and adapting language and literary devices to generate particular responses, with relevant and thoughtful consideration of the original text.

Written or oral language that shows limited control of conventions.

Written or oral language that employs some conventions to attempt stylistic effect.

Mostly fluent and coherent written or oral language that employs the appropriate use of conventions for stylistic effect.

Generally fluent and coherent written or oral language that employs the appropriate and accurate use of conventions for stylistic effect.

Highly expressive, fluent and coherent written or oral language that employs the considered use of appropriate conventions for stylistic effect

Limited justification of decisions related to content and approach made during the creative process with some reference to the original text and purpose, audience and context.

Some justification of decisions related to selected content and approach made during the creative process, demonstrating tenuous connections to the original text and some understanding of purpose, audience and context.

Sound justification of decisions related to selected content and approach made during the creative process, demonstrating solid connections to the original text and understanding of purpose, audience and context.

Thorough justification of decisions related to selected content and approach made during the creative process, demonstrating relevant connections to the original text and clear understanding of purpose, audience and context.

Insightful justification of decisions related to selected content and approach made during the creative process, demonstrating meaningful connections to the original text and complex understanding of purpose, audience and context

KEY to marking scale based on the Outcome contributing 40 marks

Very Low 1–8

Low 9–16

Medium 17–24

High 25–32

Very High 33–40