how to write a cartoon analysis essay

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How to Analyze Political Cartoons

Last Updated: January 16, 2023 Fact Checked

This article was reviewed by Gerald Posner . Gerald Posner is an Author & Journalist based in Miami, Florida. With over 35 years of experience, he specializes in investigative journalism, nonfiction books, and editorials. He holds a law degree from UC College of the Law, San Francisco, and a BA in Political Science from the University of California-Berkeley. He’s the author of thirteen books, including several New York Times bestsellers, the winner of the Florida Book Award for General Nonfiction, and has been a finalist for the Pulitzer Prize in History. He was also shortlisted for the Best Business Book of 2020 by the Society for Advancing Business Editing and Writing. There are 8 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 584,216 times.

Political cartoons use imagery and text to comment on a contemporary social issue. They may contain a caricature of a well-known person or an allusion to a contemporary event or trend. [1] X Research source By examining the image and text elements of the cartoon, you can start to understand its deeper message and evaluate its effectiveness.

Examining the Image and Text

Common Symbols in Political Cartoons

Uncle Sam or an eagle for the United States John Bull, Britannia or a lion for the United Kingdom A beaver for Canada A bear for Russia A dragon for China A sun for Japan A kangaroo for Australia A donkey for the US Democratic Party An elephant for the US Republican Party

• Many political cartoonists will include caricatures of well-known politicians, which means they’ll exaggerate their features or bodies for humor, easy identification, or to emphasize a point. For example, an artist might make an overweight politician even larger to emphasize their greed or power.

• For example, if the cartoonist shows wealthy people receiving money while poorer people beg them for change, they’re using irony to show the viewer how wrong they believe the situation to be.

• For example, the stereotype of a fat man in a suit often stands for business interests.
• If you’re analyzing a historical political cartoon, take its time period into account. Was this kind of stereotype the norm for this time? How is the artist challenging or supporting it?

Text in Political Cartoons

Labels might be written on people, objects or places. For example, a person in a suit might be labeled “Congress,” or a briefcase might be labeled with a company’s name.

Text bubbles might come from one or more of the characters to show dialogue. They’re represented by solid circles or boxes around text.

Thought bubbles show what a character is thinking. They usually look like small clouds.

Captions or titles are text outside of the cartoon, either below or above it. They give more information or interpretation to what is happening in the cartoon itself.

• For example, a cartoon about voting might include a voting ballot with political candidates and celebrities, indicating that more people may be interested in voting for celebrities than government officials.
• The effectiveness of allusions often diminishes over time, as people forget about the trends or events.

Analyzing the Issue and Message

• If you need help, google the terms, people, or places that you recognize and see what they’ve been in the news for recently. Do some background research and see if the themes and events seem to connect to what you saw in the cartoon.

• The view might be complex, but do your best to parse it out. For example, an anti-war cartoon might portray the soldiers as heroes, but the government ordering them into battle as selfish or wrong.

• For example, a political cartoon in a more conservative publication will convey a different message, and use different means of conveying it, than one in a liberal publication.

Rhetorical Devices

Pathos: An emotional appeal that tries to engage the reader on an emotional level. For example, the cartoonist might show helpless citizens being tricked by corporations to pique your pity and sense of injustice.

Ethos: An ethical appeal meant to demonstrate the author’s legitimacy as someone who can comment on the issue. This might be shown through the author’s byline, which could say something like, “by Tim Carter, journalist specializing in economics.”

Logos: A rational appeal that uses logical evidence to support an argument, like facts or statistics. For example, a caption or label in the cartoon might cite statistics like the unemployment rate or number of casualties in a war.

• Does it make a sound argument?
• Does it use appropriate and meaningful symbols and words to convey a viewpoint?
• Do the people and objects in the cartoon adequately represent the issue?

Community Q&A

• Keep yourself informed on current events in order to more clearly understand contemporary political cartoons. Thanks Helpful 6 Not Helpful 0
• If you are having trouble discerning the meaning of a political cartoon, try talking with friends, classmates, or colleagues. Thanks Helpful 3 Not Helpful 3
• Historical context: When?
• Intended audience: For who?
• Point of view: Author's POV.
• Purpose: Why?
• Significance: For what reason?

• Political cartoons are oftentimes meant to be funny and occasionally disregard political correctness. If you are offended by a cartoon, think about the reasons why a cartoonist would use certain politically incorrect symbols to describe an issue. Thanks Helpful 14 Not Helpful 2

You Might Also Like

• ↑ http://teachinghistory.org/teaching-materials/teaching-guides/21733
• ↑ https://teachinghistory.org/sites/default/files/2018-08/Cartoon_Analysis_0.pdf
• ↑ https://www.metaphorandart.com/articles/exampleirony.html
• ↑ https://www.pbs.org/wgbh/globalconnections/mideast/educators/types/lesson3.html
• ↑ https://www.writerswrite.co.za/the-12-common-archetypes/
• ↑ https://www.lsu.edu/hss/english/files/university_writing_files/item35402.pdf
• ↑ https://www.mindtools.com/axggxkv/paraphrasing-and-summarizing
• ↑ http://www.ysmithcpallen.com/sites/default/files/Analyzing-and-Interpreting-Political-Cartoons1.ppt

About This Article

To analyze political cartoons, start by looking at the picture and identifying the main focus of the cartoon, which will normally be exaggerated for comic effect. Then, look for popular symbols, like Uncle Sam, who represents the United States, or famous political figures. Make note of which parts of the symbols are exaggerated, and note any stereotypes that the artists is playing with. Once you’ve identified the main point, look for subtle details that create the rest of the story. For tips on understanding and recognizing persuasive techniques used in illustration, read on! Did this summary help you? Yes No

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How to Analyze an Editorial Cartoon

• Lesson Plans
• The Cartoon
• Traveling Exhibits
• Report on Editorial Cartooning
• The Foundation
• Foundation News
• Board of Directors
• Herblock Gallery
• Library of Congress
• Order Cartoon Reprints
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"Political cartoons, unlike sundials, do not show the brightest hours. They often show the darkest ones, in the hope of helping us move on to brighter times." —Herb Block

Analyzing a Cartoon

• Look at the cartoon and think about the people, items, actions portrayed, and words within the drawing.
• Who is in the cartoon? Can you identify specific people? How do you know who the people are? If you can't identify specific people by name, who might the people portrayed represent?
• Whose story is being told? How would the cartoon change if it were told from a different point of view?
• Break the cartoon into quadrants. What details do you see in each quadrant?
• Top left:               Top right:             Bottom left:       Bottom right:
• What objects (tools, signs, vehicles, furniture, technology, etc.) are in the cartoon and why are the objects important?
• What can you figure out about the setting (time--year or decade, place), and how do you know? Why is the setting important?
• You learn about characters from what they do and say and how others react to them. What can you learn about the people in the cartoon from these things?
• Are any symbols used in the cartoon? What are they and what do they symbolize?
• Why are the symbols important?
• Are there any metaphors in the cartoon? What are they?
• What information does the caption provide? Does it support the drawing or provide a different perspective?
• What can you infer from this cartoon? List evidence to support your answer.
• What is the viewpoint of the artist? How do you know (list evidence from the cartoon to support your answer)?
• What questions does the cartoon raise in your mind? Where might you find answers to those questions?

Other Sources:

News Literacy Project:  Power in Art: The Watchdog Role of Editorial Cartoonists  (includes video with Lalo Alcaraz)

Video -  How to Make an Editorial Cartoon - The New York Times

Library of Congress: Cartoon Analysis Guide

Opper Project's: Reading an Editorial Cartoon

NIEonline and AAEC : Cartoon Analysis Worksheet

National Archives: Cartoon Analysis Worksheet

Teaching History: The Cartoon Analysis Checklist

ReadWriteThink.org: Editorial Cartoon Analysis

Classroom Law Project: Political Cartoon Analysis Guide and Worksheet

About Herb Block

Our Commitment

The Herb Block Foundation is committed to defending the basic freedoms guaranteed all Americans, combating all forms of discrimination and prejudice and improving the conditions of the poor and underprivileged through the creation or support of charitable and educational programs with the same goals.

The Foundation is also committed to providing educational opportunity to deserving students through post-secondary education scholarships and to promoting editorial cartooning through continued research. All efforts of the Foundation shall be in keeping with the spirit of Herblock, America's great cartoonist in his life long fight against abuses by the powerful.

Political Cartoon: Yankee Volunteers Marching Into Dixie Essay

• To find inspiration for your paper and overcome writer’s block
• As a source of information (ensure proper referencing)
• As a template for you assignment

Introduction

Works cited.

Political cartoons are generally regarded as a hypertrophied imagination of the political or social reality of the particular time epoch. The image that is selected for the analysis is from the pre-1856 epoch of US history, and it represents the imagination of the political and social life as it was imagined by artists. The cartoon that was selected for the analysis is Yankee volunteers marching into Dixie. This is regarded as a music cover 1862 year dated. This is a patriotic, and a bit sarcastic depiction of the Union forces.

The general description of the picture presupposes that the Union forces are marching for opening the Civil War. The troop marches forward, and their dressings are characterized as the Yankee character Brother Jonathan (Brody, 106). The background of the poster depicts the skyline with capitol building. The interpretation of this painting is associated with the events before the civil war and is based on the fact that the Union forces were regarded as the only hope of the democratic development of the further American society.

Because political cartoons were based on the subjective perception of reality, it should be emphasized that the actual importance of the interpretation is associated with the necessity to explain the origins of the artist’s wish to attract attention to the fact of the civil war beginning. By the research by Lent (156), the following statement should be emphasized:

Political prints and satires have, quite appropriately, long been collecting interest for the congressional library. A particularly large group of such works from the late eighteenth century relates to the Revolutionary War period, including historical prints, satires, and allegories by American artists such as Paul Revere and Amos Doolittle, as well as British publishers from across the political spectrum.

In the light of this statement, the historical context of the analyzed poster is mainly associated with the necessity to analyze the sequence of the historic events, as well as the social background and moods of the people and soldiers. Because the poster depicts the very beginning of the Civil War, both sides of the conflict are highly inspired.

The interpretation accuracy may be doubted because the actual importance of the picture was to inspire the audience, and soldiers marching in white top hats look a bit strange. On the other hand, the colors of the US flag were regarded as a patriotic inspiration for everyone who should watch this poster. Therefore, the artist chose to draw the troops in national colors.

From the theoretic perspective of political satire and cartoons, it should be stated that the picture itself was aimed at increasing the level of self-consciousness and patriotism. In the light of this fact, the statement by Winfield and Yoon (234) emphasizes the importance of the political background and the necessity in such cartoons:

As the controversy grew in the United States over the proper form to be given the new government, cartoons and satires became an increasingly vital and ubiquitous component of the national public discourse in the formative years of the young republic. Two of the finest graphic satirists from this period, James Akin and William Charles, are well represented at the Library. For example, a rare impression of Akin’s virulent attack on President Thomas Jefferson for conducting secret negotiations with Spain toward the purchase of West Florida is significant not only as an early presidential satire but also as the earliest-known signed satire by Akin.

Hence, the United States army had to be depicted as a heroic and powerful force. Even though the national forces could not look like this, the authors managed to create the cartoon with a high level of inspiration, and create the necessary mood for motivating people.

The only reason why authors preferred to choose this type of interpretation may be explained by the fact that social advertisement was not developed highly. The national colors were regarded as the only inspirational hook possible for a political cartoon. These colors could be used either as for inspiration or for political sarcasm, however, while the warriors of the Union troops are depicted as dignified people, there is no space for sarcasm

The impact that it might have on the people is linked either with the pride for the dignity of the national troops, or with the irritation and anger of those who were on the opposite side of the barricades. Anyway, the authors reached their goal.

The cartoon analyzed may be regarded from several points, however, the main idea of the image is linked with the inspiration of the target audience. Hence, the interpretation of the cartoon from the perspective of inspiration and motivation may be regarded as the most accurate.

Brody, David and Henretta, James. America: A Concise History: Vol. 1, To 1877 . 4 th edition. New York. 2010.

Lent, John. Animation, Caricature, and Gag and Political Cartoons in the United States . Westport, CT: Greenwood Press, 2004.

Winfield, Betty H., and Doyle Yoon. “Historical Images at a Glance: American Editorial Cartoons.” Newspaper Research Journal 23.4 (2002): 97.

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IvyPanda. (2022, January 10). Political Cartoon: Yankee Volunteers Marching Into Dixie. https://ivypanda.com/essays/analysis-of-political-cartoon/

"Political Cartoon: Yankee Volunteers Marching Into Dixie." IvyPanda , 10 Jan. 2022, ivypanda.com/essays/analysis-of-political-cartoon/.

IvyPanda . (2022) 'Political Cartoon: Yankee Volunteers Marching Into Dixie'. 10 January.

IvyPanda . 2022. "Political Cartoon: Yankee Volunteers Marching Into Dixie." January 10, 2022. https://ivypanda.com/essays/analysis-of-political-cartoon/.

1. IvyPanda . "Political Cartoon: Yankee Volunteers Marching Into Dixie." January 10, 2022. https://ivypanda.com/essays/analysis-of-political-cartoon/.

Bibliography

IvyPanda . "Political Cartoon: Yankee Volunteers Marching Into Dixie." January 10, 2022. https://ivypanda.com/essays/analysis-of-political-cartoon/.

Political Cartoon Analysis

This essay will provide an analysis of a specific political cartoon, discussing its symbolism, message, and effectiveness. It will explore how the cartoon uses satire and visual elements to comment on political or social issues. The piece will examine the cartoon’s context and its relevance to current events. At PapersOwl too, you can discover numerous free essay illustrations related to Analysis.

How it works

Political cartoons are comical way of making you thoughtful and persuade the issues. To understand a political cartoon you are required to be aware of current political issues. In the cartoon above, Gary Varvel uses elephant and donkey as political characters. Elephant is representing the Republican party and the donkey representing the Democrat party. They are sitting at the table having brunch and discussing the budgets that they have prepared. The message seems very clear, “Established in 1974, the congressional budget process now seems broken.

Partisan conflict and creaky rules have undermined the process, and with-it Congress’s budgetary discipline” (Reynolds). It is a very common issue that political parties repeat over and over for any budget issues, they agree to review ideas but disagree to approve based on their political character.

Table Discussion

The cartoon speaks a thousand words and the creator Gary Varvel as always is very good at portraying it as he has done many times before for the Indianapolis Star (IndyStar). In my opinion, he had done this cartoon very well and convinced a clear message and picture of the issue of political parties. The cartoon seems to say that political parties will take the budget purposals on their plate, but if it is prepared by certain party, they just disapprove for that one single reason. Elephant and donkey have budget purposal on their plates, but then say “Oh, you made this?” in a sarcastic tone and throw it in the trash without even trying. I believe the cartoonist is trying to demonstrate that nothing has changed to budget process and Congress is again is at a deadlock and frequently in recent year we have seen government shutdown because they cannot agree over budget . It seems that there is always conflict on budget-related issues in the House. The situation has been made worse by the guidelines governing how our political leaders can present the budget bills in the House (Reynolds). The parties just want to do what is best for their parties and popularity. The actual question is, are they really trying to pass a budget than can minimize our deficit, and do they really care about it? The cartoon strongly suggests a “no.”

It is general fact that to keep up with nation developments, the budget will keep going higher every year. But since deficit has been such a stress to our economy, it should be considered by any parties. But both parties are adamant and want to increase spending and not caring to decrease spending which doesn’t help reduce the deficit. The Democrats continue to disapprove military spending and ask to decrease it, while the Republicans continue to demand increase in military spending (Democrat vs Republican). This makes working on goals very difficult. This very well characterizes political party; while they might agree on proposals, they often disregard it just because it is from that particular party. This cartoon is portraying unbiased view as it doesn’t favor over the other. It shows equal satire on both political parties. The message is clear, political parties do not work on the promises they made for gaining people’s vote. All we people want is a good economy with balanced budget and decreased deficit. But both parties are quite far on getting that goal met.

With the current political trend, I agree with the cartoon and cartoonist message as he has unbiased portrayal that both political parties are at opposite poles when it comes to preparing a balanced budget or solve deficit problem. If they would work on it and agree we would not have to see the government shutdown in future.

“Democrat vs Republican.” Democrat vs Republican – Difference and Comparison | Diffen,

www.diffen.com/difference/Democrat_vs_Republican.

“IndyStar: Gary Varvel, Editorial Cartoonist, Columnist.” Indianapolis Star, 2018,

www.indystar.com/opinion/varvel/.

Reynolds, Molly E. “This Is Why the Congressional Budget Process Is Broken.” The Washington

Post, WP Company, 26 Oct. 2017, www.washingtonpost.com/news/monkey-cage/wp/2017/10/27/this-is-why-the-congressional-budget-process-is-broken/?noredirect=on&utm_term=.906d39156fdc. 

Cite this page

Political Cartoon Analysis. (2021, Jul 04). Retrieved from https://papersowl.com/examples/political-cartoon-analysis/

"Political Cartoon Analysis." PapersOwl.com , 4 Jul 2021, https://papersowl.com/examples/political-cartoon-analysis/

PapersOwl.com. (2021). Political Cartoon Analysis . [Online]. Available at: https://papersowl.com/examples/political-cartoon-analysis/ [Accessed: 11 Jul. 2024]

"Political Cartoon Analysis." PapersOwl.com, Jul 04, 2021. Accessed July 11, 2024. https://papersowl.com/examples/political-cartoon-analysis/

"Political Cartoon Analysis," PapersOwl.com , 04-Jul-2021. [Online]. Available: https://papersowl.com/examples/political-cartoon-analysis/. [Accessed: 11-Jul-2024]

PapersOwl.com. (2021). Political Cartoon Analysis . [Online]. Available at: https://papersowl.com/examples/political-cartoon-analysis/ [Accessed: 11-Jul-2024]

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Organizing Your Analysis

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There is no one perfect way to organize a rhetorical analysis essay. In fact, writers should always be a bit leery of plug-in formulas that offer a perfect essay format. Remember, organization itself is not the enemy, only organization without considering the specific demands of your particular writing task. That said, here are some general tips for plotting out the overall form of your essay.

Introduction

Like any rhetorical analysis essay, an essay analyzing a visual document should quickly set the stage for what you’re doing. Try to cover the following concerns in the initial paragraphs:

• Make sure to let the reader know you’re performing a rhetorical analysis. Otherwise, they may expect you to take positions or make an evaluative argument that may not be coming.
• Clearly state what the document under consideration is and possibly give some pertinent background information about its history or development. The intro can be a good place for a quick, narrative summary of the document. The key word here is “quick, for you may be dealing with something large (for example, an entire episode of a cartoon like the Simpsons). Save more in-depth descriptions for your body paragraph analysis.
• If you’re dealing with a smaller document (like a photograph or an advertisement), and copyright allows, the introduction or first page is a good place to integrate it into your page.
• Give a basic run down of the rhetorical situation surrounding the document: the author, the audience, the purpose, the context, etc.

Thesis Statements and Focus

Many authors struggle with thesis statements or controlling ideas in regards to rhetorical analysis essays. There may be a temptation to think that merely announcing the text as a rhetorical analysis is purpose enough. However, especially depending on your essay’s length, your reader may need a more direct and clear statement of your intentions. Below are a few examples.

1. Clearly narrow the focus of what your essay will cover. Ask yourself if one or two design aspects of the document is interesting and complex enough to warrant a full analytical treatment.

The website for Amazon.com provides an excellent example of alignment and proximity to assist its visitors in navigating a potentially large and confusing amount of information.

2. Since visual documents often seek to move people towards a certain action (buying a product, attending an event, expressing a sentiment), an essay may analyze the rhetorical techniques used to accomplish this purpose. The thesis statement should reflect this goal.

The call-out flyer for the Purdue Rowing Team uses a mixture of dynamic imagery and tantalizing promises to create interest in potential, new members.

3. Rhetorical analysis can also easily lead to making original arguments. Performing the analysis may lead you to an argument; or vice versa, you may start with an argument and search for proof that supports it.

A close analysis of the female body images in the July 2007 issue of Cosmopolitan magazine reveals contradictions between the articles’ calls for self-esteem and the advertisements’ unrealistic, beauty demands.

These are merely suggestions. The best measure for what your focus and thesis statement should be the document itself and the demands of your writing situation. Remember that the main thrust of your thesis statement should be on how the document creates meaning and accomplishes its purposes. The OWl has additional information on writing thesis statements.

Analysis Order (Body Paragraphs)

Depending on the genre and size of the document under analysis, there are a number of logical ways to organize your body paragraphs. Below are a few possible options. Which ever you choose, the goal of your body paragraphs is to present parts of the document, give an extended analysis of how that part functions, and suggest how the part ties into a larger point (your thesis statement or goal).

Chronological

This is the most straight-forward approach, but it can also be effective if done for a reason (as opposed to not being able to think of another way). For example, if you are analyzing a photo essay on the web or in a booklet, a chronological treatment allows you to present your insights in the same order that a viewer of the document experiences those images. It is likely that the images have been put in that order and juxtaposed for a reason, so this line of analysis can be easily integrated into the essay.

Be careful using chronological ordering when dealing with a document that contains a narrative (i.e. a television show or music video). Focusing on the chronological could easily lead you to plot summary which is not the point of a rhetorical analysis.

A spatial ordering covers the parts of a document in the order the eye is likely to scan them. This is different than chronological order, for that is dictated by pages or screens where spatial order concerns order amongst a single page or plane. There are no unwavering guidelines for this, but you can use the following general guidelines.

• Left to right and top to down is still the normal reading and scanning pattern for English-speaking countries.
• The eye will naturally look for centers. This may be the technical center of the page or the center of the largest item on the page.
• Lines are often used to provide directions and paths for the eye to follow.
• Research has shown that on web pages, the eye tends to linger in the top left quadrant before moving left to right. Only after spending a considerable amount of time on the top, visible portion of the page will they then scroll down.

Persuasive Appeals

The classic, rhetorical appeals are logos, pathos, and ethos. These concepts roughly correspond to the logic, emotion, and character of the document’s attempt to persuade. You can find more information on these concepts elsewhere on the OWL. Once you understand these devices, you could potentially order your essay by analyzing the document’s use of logos, ethos, and pathos in different sections.

The conclusion of a rhetorical analysis essay may not operate too differently from the conclusion of any other kind of essay. Still, many writers struggle with what a conclusion should or should not do. You can find tips elsewhere on the OWL on writing conclusions. In short, however, you should restate your main ideas and explain why they are important; restate your thesis; and outline further research or work you believe should be completed to further your efforts.

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So far you have examined how primarily written arguments work rhetorically. But visuals (symbols, paintings, photographs, advertisements, cartoons, etc.) also work rhetorically, and their meaning changes from context to context. 

Imagine two straight lines intersecting each other at right angles. One line runs from north to south. The other from east to west. Now think about the meanings that this sign evokes.

What came to mind as you pondered this sign? Crossroads? A first aid sign? The Swiss flag? Your little brother making a cross sign with his forefingers that signals “step away from the hallowed ground that is my bedroom”?

Now think of a circle around those lines so that the ends of the lines hit, or cross over, the circumference of the circle. What is the image’s purpose now?

What did you come up with? The Celtic cross? A surveyor’s target? A pizza cut into really generous sizes?

Did you know that this symbol is also the symbol for our planet Earth? And it’s the symbol for the Norse god, Odin. Furthermore, a quick web search will also tell you that John Dalton, a British chemist who led the way in atomic theory and died in 1844, used this exact same symbol to indicate the element sulfur.

Recently, however, the symbol became the subject of a fiery political controversy. The marketing team of former Alaska governor (and former vice-presidential candidate), Sarah Palin, placed several of these symbols—the lines crossed over the circumference of the circle in this case—on a map of the United States. The symbols indicated where the Republican Party had to concentrate their campaign because these two seemingly innocuous lines encompassed by a circle evoked, in this context, the symbol for crosshairs—which itself invokes a myriad of meanings that range from “focus” to “target.”

However, after the shooting of Congresswoman Gabrielle Giffords in Arizona in January 2011, the symbol, and the image it was mapped onto, sparked a vehement nationwide debate about its connotative meaning. Clearly, the image’s rhetorical effectiveness had transformed into something that some considered offensive. Palin’s team withdrew the image from her website.

How we understand symbols rhetorically, and indeed all images, depends on how the symbols work with the words they accompany, and on how we understand and read the image’s context, or the social “landscape” within which the image is situated. As you have learned from earlier chapters, much of this contextual knowledge in persuasive situations is tacit, or unspoken.

Like writing, how we use images has real implications in the world. So when we examine visuals in rhetorical circumstances, we need to uncover this tacit knowledge. Even a seemingly innocuous symbol, like the one above, can denote a huge variety of meanings, and these meanings can become culturally loaded. The same is true for more complex images—something we will examine at length below.

In this chapter, we will explore how context—as well as purpose, audience, and design—render symbols and images rhetorically effective. The political anecdote above may seem shocking, but, nevertheless, it indicates how persuasively potent visuals are, especially when they enhance the meaning of a text’s words or vice versa. Our goal for this chapter, then, is to come to terms with the basics of visual analysis, which can encompass the analysis of words working with images or the analysis of images alone. When you compose your own arguments, you can put to use what you discover in this chapter when you select or consider creating visuals to accompany your own work.

Here is an overview of Visual Rhetoric from the OWL at Purdue:

Rhetorical Analysis of Visual Texts

Let’s start with by reviewing what we mean by analysis. Imagine that your old car has broken down and your Uncle Bob has announced that he will fix it for you. The next day, you go to Uncle Bob’s garage and find the engine of your car in pieces all over the driveway; you are further greeted with a vision of your hapless uncle greasily jabbing at the radiator with a screwdriver. Uncle Bob (whom you may never speak to again) has broken the car engine down into its component parts to try and figure out how your poor old car works and what is wrong with it.

Happy days are ahead, however. Despite the shock and horror that the scene above inspires, there is a method to Uncle Bob’s madness. Amid the wreckage, he finds out how your car works and what is wrong with it, so he can fix it and put it back together.

Likewise, analyzing entails breaking down a text or an image into component parts (like your engine). And while analyzing doesn’t entail fixing per se, it does allow you to figure out how a text or image works to convey the message it is trying to communicate. What constitutes the component parts of an image? How might we analyze a visual? What should we be looking for? To a certain extent we can analyze visuals in the same way we analyze written language; we break down a written text into component parts to figure out just what the creator’s agenda might be and what effect the text might have on its readers.

When we analyze visuals we do take into account the same sorts of things we do when we analyze written texts, with some added features.

Please watch “Visual Rhetoric: How to Analyze Images”:

Genres that use visuals tell us a lot about what we can and can’t do with them. Coming to terms with genre is rather like learning a new dance—certain moves, or conventions, are expected that dictate what kind of dance you have to learn. If you’re asked to moonwalk, for instance, you know you have to glide backwards across the floor like Michael Jackson. It’s sort of the same with visuals and texts; certain moves, or conventions, are expected that dictate what the genre allows and doesn’t allow.

Below is a wonderful old bumper sticker from the 1960s 19. A bumper sticker, as we will discover, is a genre that involves specific conventions.

Bumper stickers today look quite a bit different, but the amount of space that a sticker’s creator has to work with hasn’t really changed. Bumper stickers demand that their creators come up with short phrases that are contextually understandable and accompanied by images that are easily readable—a photograph of an oil painting trying to squeeze itself on a bumper sticker would just be incomprehensible. In short, bumper stickers are an argument in a rush!

A bumper sticker calls for an analysis of images and words working together to create an argument. As for their rhetorical content, bumper stickers can demand that we vote a certain way, pay attention to a problem, act as part of a solution, or even recognize the affiliations of the driver of the car the sticker is stuck to. But their very success, given that their content is minimal, depends wholly on our understanding of the words and the symbols that accompany them in context.

The procedure for doing a rhetorical analysis of a visual text is essentially the same as for a spoken/written text.

Step 1: Read the Text

In the case of a visual text, there might be words or there might not. If there are no words, “read” the image and think about what the creator of the image is trying to portray. Rather than a summary of the text, you might write a description of the image, including what you believe the author’s main intent is. In this case, your description might be fairly short:

Step 2: Define the Rhetorical Situation

Again, this step is very similar to what you would do for a written/spoken text. Simply answer the same questions about the visual text. Remember the acronym SOAP:

In this case, the speaker isn’t as clear as it might be in a spoken or written text. In general, a speech is made by a specific person, and a written text has an author. In some cases, determining the origin of a visual text could be difficult. In this case, we can presume that the bumper sticker was made by the Democratic Party as a campaign effort.

Audience and Medium

In their book Picturing Texts , Lester Faigley et al claim that, when determining the audience for a visual, we must “think about how an author might expect the audience to receive the work” (104). Medium, then, dominates an audience’s reception of an image. For instance, Faigley states that readers will most likely accept a photograph in a newspaper as news—unless of course one thinks that pictures in the tabloids of alien babies impersonating Elvis constitute news. Alien babies aside, readers of the news would expect that the picture on the front page of the New York Times , for instance, is a “faithful representation of something that actually happened” (105). An audience for a political cartoon in the newspaper, on the other hand, would know that the pictures they see in cartoons are not faithful representations of the news but opinions about current events and their participants, caricatured by a cartoonist. The expectations of the audience in terms of medium, then, determine much about how the visual is received.

As for our bumper sticker then, we might argue that the image of JFK speeding down the highway on the bumper of a spiffy new Ford Falcon would be persuasive to those who put their faith in the efficacy of bumper stickers, as well as the image of the man on the bumper sticker. Moreover, given that the Falcon is speeding by, we might assume that the bumper sticker would mostly appeal to those folks who are already thinking of voting for JFK—otherwise there’s a chance that the Falcon’s driver would be the recipient of some 1960s-style road rage.

Today, the audience for our bumper sticker has changed considerably. We might find it in a library collection. Or we might find it collecting bids on eBay. Once again, the audience for this example of images and words working together rhetorically depends largely on its contextual landscape.

Occasion/Context

Thinking about context is crucial when we are analyzing visuals, as it is with analyzing writing. We need to understand the political, social, economic, or historical situations from which the visual emerges. Moreover, we have to remember that the meaning of images change as time passes. For instance, what do we have to understand about the context from which the Kennedy sticker emerged in order to grasp its meaning? Furthermore, how has its meaning changed in the past 50 years?

First, to read the bumper sticker at face value, we have to know that a man named Kennedy is running for president. But president of what? Maybe that’s obvious, but then again, how many know who the Australian prime minister was 50 years ago, or, for that matter, the leading official in China? Of course, we should know that the face on the bumper sticker belongs to John F. Kennedy, a US Democrat, who ran against the Republican nominee Richard Nixon, and who won the US presidential election in 1960. (We hope you know that anyway.)

Now think how someone seeing this bumper sticker, and the image of Kennedy on it, today would react differently than someone in 1960 would have. Since his election, JFK’s status has transformed from American president into an icon of American history. We remember his historic debate with Nixon, the first televised presidential debate.

One wonders how much of a role this event played in his election given that the TV, a visual medium,  turned a political underdog into a celebrity. We also remember Kennedy for his part in the Cuban missile crisis, his integral role in the Civil Rights Movement and, tragically, we remember his assassination in 1963. In other words, after the passage of 50 years, we might read the face on the bumper sticker quite differently than we might have in 1960.

While we examine this “text” from 50 years ago, it reminds us that the images we are surrounded by now change in meaning all the time. For instance, we are all familiar with the Apple logo. The image itself, on its own terms, is simply a silhouette of an apple with a bite taken out of it. But, the visual does not now evoke the nourishment of a Granny Smith or a Golden Delicious. Instead, the logo is globally recognized as an icon of computer technology.

Words and images can work together to present a point of view. But, in terms of visuals, that point of view often relies on what isn’t explicit—what, as we noted above, is tacit.

The words on the sticker say quite simply “Kennedy For President.” We know now that this simple statement reveals that John F. Kennedy ran for president in 1960. But what was its rhetorical value back then? What did the bumper sticker want us to do with its message? After all, taken literally, it doesn’t really tell us to do anything.

For now, let’s cheat and jump the gun and guess that the bumper sticker’s argument in 1960 was “Vote to Elect John F Kennedy for United States President.”

Okay. So knowing what we know from history, we can accept that the sticker is urging us to vote for Kennedy. It’s trying to persuade us to do something. And the reason we know what we know about it is because we know how to read its genre and we comprehend its social, political, and historical context. But in order to be persuaded by its purpose, we need to know why voting for JFK is a good thing. We need to understand that its underlying message, “Vote for JFK,” is that to vote for JFK is a good thing for the future of the United States.

So, to be persuaded by the bumper sticker, we must agree with the reasons why voting for JFK is a good thing. But the bumper sticker doesn’t give us any. Instead, it relies on what we are supposed to know about why we should vote for Kennedy. For instance, if we were present for the campaign, we would know that JFK campaigned on a platform of liberal reform as well as increased spending for the military and space travel technology. Moreover, we would be aware of the evidence for why we should vote that way. Consequently, if we voted for JFK, we accepted the above claim, reasons, and evidence driving the bumper sticker’s purpose without being told any of it by the bumper sticker. The claim, reasons and evidence are all tacit.

What about the image itself? How does that further the bumper sticker’s purpose? We see that the image of JFK’s smiling face is projected on top of the words “Kennedy for President.” The image is not placed off to the side; it is right in the middle of the bumper sticker. So for this bumper sticker to be visually persuasive, we need to agree that JFK, here represented by his smiling face, located right in the middle of the bumper sticker, on a backdrop of red, white, and blue, signifies a person we can trust to run the country.

Nowadays, JFK’s face on the bumper sticker—or in any other genre for that matter —might underscore a different purpose. It might encompass nostalgia for an era gone by or it might be used as a resemblance argument, in order to compare President Kennedy with President Obama for example.

Overall then, when we see a visual used for rhetorical purposes, we must first determine the argument (claim, reasons, evidence) from which the visual is situated and then try to grasp why the visual is being used to further its purpose.

To these, we will add one more element–Setting–making our acronym SOAPS.

When analyzing visual texts, the style in which the text is created is important. In rhetorical analysis, you should consider why this particular style was chosen–why use a bumper sticker or a billboard instead of writing an article in the newspaper?

Consider what format or medium the text being made: image? written essay? speech? song? protest sign? meme? sculpture?

• What is gained by having a text composed in a particular format/medium?
• What limitations does that format/medium have?
• What opportunities for expression does that format/medium have (that perhaps other formats do not have?)

3. Identify Rhetorical Strategies

Think through how the creator of the text uses ethos, pathos, logos, and kairos to portray the message. While you might see some rhetorical devices being employed, they might not play as large a role in visual texts. The elements of Design will play a much larger role in a visual analysis.

Design actually involves several factors.

Arrangement

Designers are trained to emphasize certain features of a visual text. And they are also trained to compose images that are balanced and harmonized. Faigley et al suggest that we look at a text that uses images (with or without words) and think about where our eyes are drawn first (34). Moreover, in Western cultures, we are trained to read from left to right and top to bottom—a pattern that often has an impact on what text or image is accentuated in a visual arrangement.

Other arrangements that Faigley et al discuss are closed and open forms (105). A closed-form image means that, like our bumper sticker, everything we need to know about the image is enclosed within its frame. An open form, on the other hand, suggests that the visual’s narrative continues outside the frame of the visual. Many sports ads employ open-frame visuals that suggest the dynamic of physical movement.

Another method of arrangement that is well known to designers is the rule of thirds . Here’s an example of that rule in action:

Note how the illustration above has been cordoned off into 9 sections. The drawings of the sun and the person, as well as the horizon, coincide with those lines. The rule of thirds dictates that this compositional method allows for an interesting and dynamic arrangement as opposed to one that is static. Now, unfortunately, our bumper sticker above doesn’t really obey that rule. Nevertheless, our eye is still drawn to the image of JFK’s head. Many modern bumper stickers do, however, obey the rule of thirds. Next time you see a bumper sticker on a parked car, check if the artist has paid attention to this rule. Or, seek out some landscape photography. The rule of thirds is the golden rule in landscape art and photography and is more or less a comprehensive way to analyze arrangement in design circles because of its focus on where one’s eye is drawn.

Rhetorically speaking, what is accentuated in a visual is the most important thing to remember about arrangement. As far as professional design is concerned, it is never haphazard. Even a great photo, which might be seem to be the result of serendipity, can be cropped to highlight what a newspaper editor, for instance, wants highlighted.

Texts and Image in Play

Is the visual supported by words? How do the words support the visual? What is gained by the words and what would be lost if they weren’t in accompaniment? What if we were to remove the words “Kennedy for President” from our bumper sticker? Would the sticker have the same rhetorical effect?

Moreover, when examining visual rhetoric, we should pinpoint how font emphasizes language. How does font render things more or less important, for instance? Is the font playful, like Comic Sans MS, or formal, like Arial? Is the font blocked, large, or small? What difference does the font make to the overall meaning of the visual? Imagine that our JFK bumper sticker was composed with a swirly- curly font. It probably wouldn’t send the desired message. Why not, do you think?

Alternately, think about the default font in Microsoft Word. What does it look like and why? What happens to the font if it is bolded or enlarged? Does it maintain a sense of continuity with the rest of the text? If you scroll through the different fonts available to you on your computer, which do you think are most appropriate for essay writing, website design, or the poster you may have to compose?

Lastly, even the use of white (or negative) space in relation to text deserves attention in terms of arrangement. The mismanagement of the relation of space to text and/or visual can result in visual overload! For instance, in an essay, double spacing is often advised because it is easier on the reader’s eye. In other words, the blank spaces between the lines of text render reading more manageable than would dense bricks of text. Similarly, one might arrange text and image against the blank space to create a balanced arrangement of both.

While in some situations the arrangement of text and visual (or white space) might not seem rhetorical (in an essay, for example), one could make the argument that cluttering one’s work is not especially rhetorically effective. After all, if you are trying to persuade your instructor to give you an ‘A’, making your essay effortlessly readable seems like a good place to start.

Visual Figures

Faigley et al also ask us to consider the use of figures in a visual argument (32). Figurative language is highly rhetorical, as are figurative images. For instance, visual metaphors abound in visual rhetoric, especially advertising (32). A visual metaphor is at play when you encounter an image that signifies something other than its literal meaning. For instance, think of your favorite cereal: which cartoon character on the cereal box makes you salivate in anticipation of breakfast time? Next time, when you see a cartoon gnome and your tummy start to rumble in anticipation of chocolate-covered rice puffs, you’ll know that the design folks down at ACME cereals have done their job. Let’s hope, however, that you don’t want to chow down on the nearest short fat fellow in a red cap that comes your way.

Visual rhetoric also relies on synecdoche, a trope in which a part of something represents the whole . In England, for instance, a crown is used to represent the British monarchy. The image of JFK’s face on the bumper sticker, then, might suggest his competency to head up the country.

Colors are loaded with rhetorical meaning, both in terms of the values and emotions associated with them and their contextual background. Gunther Kress and Theo Van Leeuwen show how the use of color is as contextually bound as writing and images themselves. For instance, they write, “red is for danger, green for hope. In most parts of Europe, black is for mourning, though in northern parts of Portugal, and perhaps elsewhere in Europe as well, brides wear black gowns for their wedding day. In China, and other parts of East Asia, white is the color of mourning; in most of Europe it is the color of purity, worn by the bride at her wedding. Contrasts like these shake our confidence in the security of meaning of colour and colour terms” (343).

So what colors have seemingly unshakeable meaning in the US? How about red, white, and blue? Red and blue are two out of the three primary colors. They evoke a sense of sturdiness. After all, they are the base colors from which others are formed.

The combined colors of the American flag have come to signal patriotism and American values. But even American values, reflected in the appearance of the red, white, and blue, change in different contexts. To prompt further thought, Faigley shows us that the flag has been used to lend different meaning to a variety of magazine covers—from American Vogue (fashion) to Fortune magazine (money) (91). An image of the red, white and blue on the cover lends a particularly American flavor to each magazine. And this can change the theme of each magazine? For instance, with what would you acquaint a picture of the American flag on the cover of Bon Appétit or Rolling Stone ? Hot dogs and Bruce Springsteen perhaps?

What then does the red, white, and blue lend our bumper sticker? A distinctly patriotic flavor, for sure. Politically patriotic. And that can mean different things for different people. Thus, given that meanings change in a variety of contexts, we can see that the meaning of color can actually be more fluid than we might have originally thought.

Alternately, if our JFK sticker colors were anything other than red, white, and blue, we might read it very differently; indeed, it might seem extremely odd to us.

Kress and Van Leeuwen ask us to consider the modality in which an image is composed. Very simply, this means, how “real” does the image look? And what does this “realness” contribute to its persuasiveness? They write, “visuals can represent people, places, and things as though they are real, as though they actually exist in this way . . . or as though they do not” (161). Photographs are thus considered a more naturalistic representation of the world than clip art, for instance.

We expect photographs to give us a representation of reality. Thus, when a photograph is manipulated to signify something fantastic, like a unicorn or a dinosaur, we marvel at its ability to construct something that looks “real.” And when a visual shifts from one modality to another, it takes on additional meaning.

For instance, how might we read a cartoon version of JFK compared to the photograph that we see on our bumper sticker? Would the cartoon render the bumper sticker less formal? Less significant perhaps? Would a cartoon, given its associative meanings, somehow lessen the authenticity of the sticker’s purpose? Or the authority of its subject?

Perspective/Point of View

Imagine standing beneath a wind turbine. Intimidating? Impressive Overwhelming? Now envision that you are flying over it in airplane. That very enormous thing seems rather insignificant now—a wind turbine in Toyland.

Now imagine the same proportions depicted in a photograph. One might get the same sense of power if the photo was taken from the bottom of the turbine, the lens pointed heavenward. Then again, an aerial photograph might offer us a different perspective. If the landscape presents us with an endless array of turbines stretching into the distance, we might get a sense that they are infinite—as infinite as wind energy.

Our Kennedy sticker offers neither of the above-described senses of perspective. Coming face to face with Kennedy, we neither feel overwhelmed nor superior. In fact, it’s as if Kennedy’s gaze is meeting ours at our own level. The artist is still using his powers of perspective; it’s just that our gaze meets Kennedy’s face to face. Consequently, Kennedy is portrayed as friendly and approachable.

Social distance

Jewitt and Van Leeuwen include social distance in the components of design. Social distance accounts for the “psychology of people’s use of space” (Van Leeuwen and Jewitt, 29). In short, a visual artist can exploit social distance to create a certain psychological effect between a person in an image and the image’s audience.

Image licensed free to use.“Look at me,” both seem to say, “buy this product; we invite you.” Likewise, Kennedy smiles into the camera. “Vote for me,” he encourages. “I’m a nice guy.” Depicting head and shoulders only, we are given a sense of what Van Leeuwen and Carey Jewitt call “Close Personal Distance.” The result is one of intimacy.

Alternately, a visual of several people, or a crowd, would suggest far less intimacy.

Mood and Lighting

Have you ever put a flashlight under your chin and lit your face from underneath? Maybe we aren’t all budding scary movie makers, but jump out of the closet on a dark night with all the lights turned off and the flashlight propped under your chin and you’re sure to give at least the cat a fright. What you have experimented with is mood and lighting. In short, the lighting as described eerily captures facial features that aren’t usually accentuated. It can be quite off-putting. Thus the position of the light has created a creepy face; it’s created a visual mood . And, the mood combines with other elements of the visual to create an effect, which of course is rhetorical.

The next time you watch a movie, note how the filmmaker has played with lighting to create a mood. In the illustration below, we can see how Film Noir , for instance, capitalizes on techniques of mood and lighting to create an uncanny effect.

4. Connect the Text to the Purpose

Think about how the author’s purpose connects to the visual text. Do they match up? Has the author’s feelings or desire for creativity interfered with the message?

You may want to bookmark this worksheet on your computer, as it will help you as you write your own rhetorical analyses:

Worksheet for Rhetorical Analysis

Attributions

• Faigley, Lester, Diana George, Anna Palchik and Cynthia Selfe. Picturing Texts . London: Norton, 2004. Print.
• Kress, Gunther, and Theo Van Leeuwen: “Colour as a Semiotic Mode: Notes for a Grammar or Colour.” Visual Communication 1.3 (2002): 343-68.
• Kress, Gunther and Theo Van Leeuwen. Reading Images . London: Routledge, 1996. Print.
• Van Leeuwen, Theo and Carey Jewitt. The Handbook of Visual Analysis . Thousand Oaks: Sage, 2003. Print.
• Content adapted from “ Visual Elements ” licensed under CC BY SA .
• Adapted from “ What is the Rhetorical Situation? ” by Robin Jeffrey and Emilie Zickel licensed under CC BY SA .
• Other content written by Dr. Karen Palmer and licensed CC BY NC SA . 

Diving into Rhetoric Copyright © 2020 by Karen Palmer is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Analyzing the Purpose and Meaning of Political Cartoons

• Resources & Preparation
• Instructional Plan
• Related Resources

The decisions students make about social and political issues are often influenced by what they hear, see, and read in the news. For this reason, it is important for them to learn about the techniques used to convey political messages and attitudes. In this lesson, high school students learn to evaluate political cartoons for their meaning, message, and persuasiveness. Students first develop critical questions about political cartoons. They then access an online activity to learn about the artistic techniques cartoonists frequently use. As a final project, students work in small groups to analyze a political cartoon and determine whether they agree or disagree with the author's message.

Featured Resources

It’s No Laughing Matter: Analyzing Political Cartoons : This interactive activity has students explore the different persuasive techniques political cartoonists use and includes guidelines for analysis.

From Theory to Practice

• Question-finding strategies are techniques provided by the teacher, to the students, in order to further develop questions often hidden in texts. The strategies are known to assist learners with unusual or perplexing subject materials that conflict with prior knowledge.
• Use of this inquiry strategy is designed to enhance curiosity and promote students to search for answers to gain new knowledge or a deeper understanding of controversial material. There are two pathways of questioning available to students. Convergent questioning refers to questions that lead to an ultimate solution. Divergent questioning refers to alternative questions that lead to hypotheses instead of answers.

Common Core Standards

This resource has been aligned to the Common Core State Standards for states in which they have been adopted. If a state does not appear in the drop-down, CCSS alignments are forthcoming.

State Standards

This lesson has been aligned to standards in the following states. If a state does not appear in the drop-down, standard alignments are not currently available for that state.

NCTE/IRA National Standards for the English Language Arts

• 1. Students read a wide range of print and nonprint texts to build an understanding of texts, of themselves, and of the cultures of the United States and the world; to acquire new information; to respond to the needs and demands of society and the workplace; and for personal fulfillment. Among these texts are fiction and nonfiction, classic and contemporary works.
• 6. Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation), media techniques, figurative language, and genre to create, critique, and discuss print and nonprint texts.
• 8. Students use a variety of technological and information resources (e.g., libraries, databases, computer networks, video) to gather and synthesize information and to create and communicate knowledge.
• 11. Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacy communities.

Materials and Technology

• Computers with Internet access and printing capability
• Several clips of recent political cartoons from a local newspaper
• Overhead projector or computer with projection capability
• Editorial Cartoon Analysis
• Presentation Evaluation Rubric

Preparation

Student Objectives

Students will

• Develop critical question to explore the artistic techniques used in political cartoons and how these techniques impact a cartoon's message
• Evaluate an author or artist's meaning by identifying his or her point of view
• Identify and explain the artistic techniques used in political cartoons
• Analyze political cartoons by using the artistic techniques and evidence from the cartoon to support their interpretations

Session 2 (may need 2 sessions, depending on computer access)

Sessions 3 and 4

• Daryl Cagle's Professional Cartoonist Index and The Association of American Editorial Cartoonists: Cartoons for the Classroom both provide additional lesson plans and activities for using political cartoons as a teaching tool. Students can also access these online political cartoons for additional practice in evaluating their meaning, message, and persuasiveness.
• Students can create their own political cartoons, making sure to incorporate a few of the artistic techniques learned in this lesson. Give students an opportunity to share their cartoons with the class, and invite classmates to analyze the cartoonist's message and voice their own opinions about the issue.
• This lesson can be a launching activity for several units: a newspaper unit, a unit on writing persuasive essays, or a unit on evaluating various types of propaganda. The ReadWriteThink lesson "Propaganda Techniques in Literature and Online Political Ads" may be of interest.

Student Assessment / Reflections

Assessment for this lesson is based on the following components:

• The students' involvement in generating critical questions about political cartoons in Lesson 1, and then using what they have learned from an online activity to answer these questions in Lesson 2.
• Class and group discussions in which students practice identifying the techniques used in political cartoons and how these techniques can help them to identify an author's message.
• The students' responses to the self-reflection questions in Lesson 4, whereby they demonstrate an understanding of the purpose of political cartoons and the artistic techniques used to persuade a viewer.
• The final class presentation in which students demonstrate an ability to identify the artistic techniques used in political cartoons, to interpret an author's message, and to support their interpretation with specific details from the cartoon. The Presentation Evaluation Rubric provides a general framework for this assessment.
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Lesson Plan Political Cartoons: Finding Point of View

A careful analysis of political cartoons can provide a glimpse into key moments of U.S. political history. In this activity, students will closely examine political cartoons about the Stamp Act; make inferences about the political, social, and economic situations depicted therein; and offer informed speculations concerning each creator’s point of view.

Students will be able to:

• Analyze political cartoons.
• Identify the ways in which point of view can be detected in political cartoons.

Time Required

Two 50-minute class periods

Lesson Preparation

• Print out one copy of the cartoon for each student
• Prepare an overhead transparency of the cartoon
• Display the cartoon using a computer and LCD projector
• Whiteboard, chalkboard, overhead or chart paper
• Primary Source Analysis Tool  (PDF, 79 KB) (print two copies per student)
• “The repeal, or the funeral of Miss Ame=Stamp”  (PDF, 863 KB) (print one copy per student)
• “The repeal, or the funeral of Miss Ame=Stamp”, Large Tiled Image  (PDF, 4.91 MB) (optional; print one copy to display in the classroom)

The following materials are used during extension activities:

• “Magna Britannia”  (PDF, 323 KB) (print one copy per student)

Before leading students through the exploration process, teachers should make themselves familiar with the following Library of Congress resources:

• Mock Funeral Procession for the Stamp Act
• Timeline: Events Related to the Formation of the United States
• Teacher's Guide for Analyzing Political Cartoons

Additional Resources

• Benjamin Franklin…In His Own Words
• John Bull and Uncle Sam: The American Revolution

Lesson Procedure

Activity one (one class period).

• What is a political cartoon? A political cartoon is a cartoon that makes a point about a political issue or event.
• What topics do political cartoons address? Could include economics, politics, social issues/events, prominent individuals.
• How can you tell what the message of the political cartoon is? By observing and analyzing the images and text.
• What is a thesis? A main idea put forward for discussion, such as in a paragraph, an essay, or a cartoon.
• What is point of view? A person’s belief or judgment on an issue.
• How might point of view affect a political cartoonist? A cartoonist will be guided by his or her point of view. Cartoonists might only express their own beliefs on an issue, or they might take the point of view of others into consideration.
• Introduce the concept of primary source analysis to the students. Distribute the  Primary Source Analysis Tool  (PDF 79 KB) to each student and explain that they will use this handout to analyze a political cartoon. Tell them that the key to primary source analysis isn’t finding the correct answer, but asking the most effective questions. Before the students begin, select questions from the teacher’s guide  Analyzing Political Cartoons  to focus and prompt analysis and discussion. Distribute or display a recent political cartoon on an issue of current interest. Model for students the process of inquiry-based primary source analysis using questions from each column as a guide. Students should record the responses on their individual handout. Lead students through a discussion of the point of view expressed in this cartoon.
• Have students create a political cartoon that communicates a different point of view than the one they analyzed.

Activity Two (One Class Period)

• Have students pair up and share the political cartoons they created. Remind students of the primary source analysis process they went through previously, and ask them to discuss each other’s cartoons for five minutes. Distribute the  Primary Source Analysis Tool  handout, and ask students to discuss each other’s cartoons.
• Explain to students that they will be analyzing a historical political cartoon and thinking about the political cartoonist’s point of view. Distribute  “The repeal, or the funeral of Miss Ame=Stamp”  (PDF, 863 KB) to each student, along with the  Primary Source Analysis Tool  (PDF, 79 KB). Have students perform a primary source analysis on the cartoon, recording their responses on their individual copies of the handout. Ask students to evaluate the cartoon to examine the cartoonist’s point of view. If students need prompting use questions selected from the teacher's guide  Analyzing Political Cartoons  to focus and prompt analysis and discussion. Note: If you feel students need additional information on the Stamp Act, you might review the relevant material in this Library of Congress exhibition,  John Bull and Uncle Sam: Four Centuries of British-American Relations .
• Discuss the two handouts once students complete them, or after collecting them, evaluating them, and returning them to students.
• Have students analyze another political cartoon about the Stamp Act,  “Magna Britannia”  (PDF, 323 KB) by Benjamin Franklin. Have students complete the  Primary Source Analysis Tool  (PDF/79KB), and then discuss the differences between  “Magna Britannia”  (PDF, 323 KB) and  “The repeal, or the funeral of Miss Ame=Stamp.”  (PDF, 863 KB). Before the students begin, select questions from the teacher’s guide  Analyzing Political Cartoons  to focus and prompt analysis and discussion.
• The Stamp Act was not the only legislation imposed on the American colonists by the British government. Have students explore the exhibition  John Bull & Uncle Sam: Four Centuries of British-American Relations  to locate another political cartoon that addresses the legislation from the perspective of the colonists. Analyze this new cartoon with the  Primary Source Analysis Tool  (PDF, 79 KB) . Before the students begin, select questions from the teacher’s guide  Analyzing Political Cartoons  to focus and prompt analysis and discussion.
• Cartoon America
• Humor's Edge
• Cartoon Cornucopia
• Edmund Valtman: The Cartoonist Who Came in From the Cold
• Bill Mauldin Beyond Willie and Joe

Lesson Evaluation

• Assess student-drawn political cartoons for evidence of student understanding of the ways in which point of view can affect how a political cartoon is created.
• Assess the primary source analysis tool for evidence of student understanding of how to analyze political cartoons.
• Teacher observation of critical thinking.

Terri Bramhall

Cartoon analysis – Anleitung, Beispiele

Zurück zur Übersicht

Auf dieser Seite findet ihr eine Anleitung, die euch erklärt, wie ihr eine „ cartoon analysis “ durchführen könnt.  Außerdem haben wir ein paar Formulierungen angefügt, die man gut verwenden kann und einem den Einstieg erleichtern. Wir haben den Text sowohl auf Deutsch als auch auf Englisch geschrieben. Dies ermöglicht euch einerseits, dass ihr Formulierungen direkt übernehmen könnt und andererseits, dass ihr alles versteht.

Cartoon analysis – How to analyze a cartoon?

Sometimes cartoons are funny, but most of them are also critical. So the first step, analyzing a cartoon is to find out the point, the cartoonist is stating and the intention he has. Most of the time, the intention gets clear when you look at the illustration AND the text, because the point is made by a combination of both elements.

• The illustrations : They show caricatures of important events, people or particular stereotypes.To analyze the cartoon, it is important, that you define the illustrated person or event.
• The text : Text can be below the illustration ( caption ), in one or more speech bubbles or on a sign, poster, etc. in the illustration itself. You have to recognize and understand all of the forms mentioned before and state out, who is speaking.

An einem Beispiel-Cartoon wird klar, dass die Kombination aus Bild und Text entscheidend ist.

Cartoon analysis – How to write your analysis:

Zuerst: Einleitungssatz formulieren. Anschließend:

1. Describe what you see

• The first step is to describe the main elements you see without interpretating or giving your opinion.
• Describe the relationships, the main persons or elements have to each other.
• Give a detailed description of the persons and elements saying what they look like ( What do they wear, etc.), what they are doing, what they say ( if they say something ) and what their gestures express.

2. Interpretation

• Now you can begin to interpret: What does the cartoonist mean with his cartoon, what problems does he describe and what is his opinion about the given situation?
• What does he want you to see most and what does he want to criticize?
• Important : Give evidence for your presumptions ( What does he use to convey his message?)

3. Your comment on the cartoon

• Now comment on the cartoon and give your personal opinion about the cartoon and his message.
• Is the cartoon well drawn and does the cartoonist get the message across?
• Do you agree with the opinion of the cartoonist?

Cartoon analysis – Example/Beispiel

„ This cartoon „Anti-immigration 1620“ by J. Parker shows some native Americans constructing a wall. In the lower left-hand corner, in front of the wall, you can find a small ship carrying people who look like the first settlers. Moreover, in the background you can see a forest and below the cartoon there is a caption which says „They say they´re building a wall because too many of us enter illegally and won´t learn their language or assimilate into their culture“.

Jeff Parker tries to make the point that the first immigrants of the U.S. are the ancestors of those people who try to forbid immigration nowadays. He wants people to remember the American History and that America would not exist in the way it is today if immigration had been forbidden in former times. In addition he makes people aware of the bad feelings people have who are not allowed to immigrate to the U.S. Relating to the article you can say that it criticizes the anti-immigration trend because it is unfair.

In my opinion this cartoon is very convincing because its message is very clear.“

Leider fehlt in diesem Beispiel der Teil des „comments“ und die Bildbeschreibung könnte noch etwas ausführlicher sein.

Cartoon analysis – Useful phrases:

• the cartoon consists of an illustration of…
• the illustration shows…
• there is a caption under the cartoon, which is spoken by…
• there is a caption under the cartoon which says „…“
• In the first speech bubble it says „…“
• The text in the speech bubble is spoken by…
• The figure is a stereotype of…
• The figure is a caricature of…
• The drawing is detailed/clear/sketchy/abstract…
• The cartoonist is making fun of…
• The cartoonist is satirizing…
• The cartoonist is making the point that…
• The cartoon is funny because of the misunderstanding between…
• I think/ don’t think the cartoon is ( very ) funny because…
• I think/ don’t think the cartoon is ( very ) easy to understand, because…
• I agree / don’t agree with the point, the cartoonist is making, because…

Wenn ihr Fragen zum Thema cartoon analysis habt,  hinterlasst doch einen Kommentar!

10 Gedanken zu „Cartoon analysis – Anleitung, Beispiele“

Gelungene Erklärung 🙂 Vielen Dank!

Ich finde diese Erklärung sehr gut, weil sie kurz und bündig ist. Die Englischen Beispiele sind auch eine gute Idee. Vergesst aber nicht den schönen und Interesse erweckenden Einleitungssatz am Anfang. Er kann durchaus witzig sein, sollte aber zum Thema hinführen.

Sehr schön, danke!

Vielen Dank , hat mir geholfen

Danke hat mir geholfen 🙂

Hey, eigentlich ganz chillig, aber was leider ein wenig nervt ist, dass hier keine Einleitung vorhanden ist, die auf die bestimmten gegebenheiten eines Cartoons eingehen.

Vielen Dank für deinen Kommentar.

Kannst du vielleicht einmal genauer erläutern was du damit meinst ? LG Lumalo

Scheint eigentlich gut gelungen sein, wobei jedoch bei der Schritt für Schritt Anleitung die EInleitung fehlt. Damit mein ich, wie auch im Beispieltext umgesetzt einen Satz mit einer Herkunfts-/ Quellenangabe. Dazu gehört jedoch auch noch eine kurze Wiedergabe der Message der Karikatur.

danke hat mir geholfen, was man für floskeln verwenden kann

Einfach und aufm Punkt gebracht.

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10 Things To Look For In Cartoons

January 5, 2011

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The use of cartoons alongside articles has become more and more popular for School Accessed Courseworks (SACs) and end of year English exam. At first glance and even the second glance, cartoons may not always appear to contain great amounts of information for students to analyse. However, when students know what to look for, it can be a vital jump-start for an insightful cartoon analysis. After all, there is a reason why teachers and examiners choose to use cartoons. It is crucial that students develop a strong ability to analyse cartoons with or without written articles. For a detailed guide on Language Analysis including how to prepare for your SAC and exam, check out our Ultimate Guide to VCE Language Analysis .

While there are many resources helping students gain skills in analysing written articles, few are specifically focused on cartoons. Below are 10 things you should look for in cartoons. These are common techniques used by illustrators and are a fantastic starting point in cartoon analysis.

In coloured cartoons, there are myriad of things you can look for. Ask yourself these questions:

• What colours did the illustrator use?
• What colours are used most? Least?
• Is there a repetition of colours?
• Is there only one colour?

Colours can be separated into two groups –  warm colours  and  cool colours . Warm colours including red, orange and yellow may be used to evoke feelings of comfort and warmth. It can also be used to express anger and embarrassment. Meanwhile, cool colours including blue, green and purple may represent calm and tranquility. Otherwise it can mean sadness and misery.

Remember that a group of colours can represent an overall meaning:

• Red, blue and white – can represent Australian flag and symbolises patriotism.
• Red, orange, and dark brown – can represent earth and nature.

While analysing colourful cartoons, also consider that many cartoons are black and white. Although these cartoons lack colour, illustrators use other methods to create meaning.

• What shading is used? – heavy shading can mean power and solidity; light shading can indicate frailty and insignificance.
• What textures/patterns are used? – smooth or rough.
• What shapes are there?

Remember that no cartoons are simply just ‘black and white.’

For example:

Analysis:  The monochromatic national broadband laid across mountains and kilometers just to serve one shack may represent a sombre plan that is pointless for Australian citizens.

Size is an important element in cartoons and one that is often quite obvious. Investigate:

• Is anything disproportioned?
• Exaggerated? Under-exaggerated?
• What is large and what is small?

Analysis:  The oversized ‘WikiLake’ appears to be irrepressible and too overwhelming for any of the three politicians from preventing another information release.

Background:  Wikileaks exposes information about Hilary Clinton and Kevin Rudd and Julia Gillard’s subsequent condemnation of the website.

3. Labelling

• What is labeled?
• What do the labels say?
• Do the labels tell us the situation? Person? Time change?

Background:  In the aftermath of the 2011 Queensland floods, many will be seeking insurance for home and business damages.

Analysis:  The label ‘Grin Insurance’ is satirical in that one would expect a customer to be ‘grinning’ to have their insurance. However, the insurance policy only ‘covers [them] against small ‘f’ flood’, not the ‘capital ‘F’ Flood’ they have just experienced, leaving them with no insurance and little to ‘grin’ about.

4. Speech bubbles

• Who is speaking?
• What are they saying?
• Is it a conversation?

Background:  Cows contribute to greenhouse gases via flatuence of methane gas.

Analysis:  The irony of a cow stating that he is a ‘climate change septic’ when his own release of methane gas is a significant cause in growing greenhouse gases.

A symbol is something that represents or stands for something else, usually an idea. They are commonly found throughout daily lives such as the cross for Christinity or the Red Cross for the organisation that helps victims of war or natural disasters. Sometimes symbols may be as obvious as those mentioned above, yet other times may be more subtle in their meaning.

• What symbols are incorporated?
• Why are particular symbols used?
• Is it a well-known symbol?
• Is the symbol’s meaning clear and identifiable? Or is it vague and can have multiple interpretations?

Background:  Ted Baillieu, opposition leader against John Brumby in 2010 Victorian state elections.

Analysis:  The representation of Baillieu as an iceberg indicates that he is a powerful force preventing the Labor Party from moving forwards and winning the 2010 state elections. The cartoon symbolises the famous movie, Titanic, and indicates that the Labor Party is bound to ‘sink’ against Baillieu and fail to ‘move forward’ to a victory.

The focus of a cartoon can indicate the main issue or situation.

• What is in focus?
• What is in the foreground and background?

Background:  Wikileaks obtaining information about politicians.

Analysis:  While a gigantic fly labeled ‘Wikileaks’ is the main focus of the cartoon, it is humorous in that it succeeds in surreptitiously listening in on Kevin Rudd and Hilary Clinton’s unsuspecting private conversation.

Angles often provide readers an indication of the status of particular people or things. If the angle is sloping down, then it creates an image of a smaller person or item. This indicates weakness, inferiority and powerlessness. An angle sloping up towards a person or item provides it with power, superiority and authority. A straight-on angle can represent equality.

• Is the angle sloping up?
• Is the angle sloping down?
• Is it straight on?
• From behind? Front on?
• On top or below?

Background:  Banks and Power Companies are two sectors important to Australian society.

Analysis:  The angle tilted up towards the Bank and Power Company demonstrates that they are domineering, powerful and authoritative.

The tone of a cartoon can indicate the illustrator’s attitude and stance towards the issue.

Common cartoon tones VCE Study Guide’s 195 Tones Vocabulary .

Background:  The North Koreans are well known for their possession of nuclear weapons.

Analysis:  Although North Korea has made significant technological advances with their nuclear weapons, it is ironic that their other tools of war remain underdeveloped, perhaps since the Middle Ages as the catapult implies.

9. Facial Expression

Facial expressions are key to the character’s thoughts, feelings and emotions.

• What facial expressions are used?
• Do they change (sequential cartoons)?
• How do expressions compare to another’s expression?
• Is it an expression we expect?

Background:  Prince William introducing Kate Middleton to his royal family.

Analysis:  While Prince William appears to be proud and excited to introduce Kate to his family, his fiancé’s expression demonstrates that perhaps she may be apprehensive about the event.

10. Context

The context of a cartoon is important. Most of the time, cartoons are attached to articles and usually draw upon a point contended by the writer of the article.

• Does the cartoon support or oppose the article? 
• Is it relevant or irrelevant? 
• Does it focus on the past, present or future? 
• Which aspect of the article does it relate to?
• Does it add further information?

However, there are times when you will have to analyse a cartoon alone, where it is not accompanying an article. In this case you will have to understand the background, the situation and the issue that is represented.

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• Learn LSG's unique SIMPLICITY and SPECIFICITY strategy which has helped hundreds of students achieve A+
• Includes annotated sample A+ essays (including responses to past VCAA exams)
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• Different types of essay structures broken down so you understand what to do and what not to do with confidence

To stand out, it’s important to have a voice. In writing, it’s the expression of your thoughts, beliefs and emotions on the page that gives the reader insight into your own personal opinions and ideas on a topic. Your writer’s voice is unique to you and therefore presents your work as original amongst the multitude of essays examiners receive. In order to find your unique voice, it’s important to pinpoint the ideas that interest you that would allow you to write in the most authentic manner. Your distinctive style of writing and the concepts you present will allow you to stand out amongst your peers and thus, will ensure you reach your optimum standard of work.

Read and Explore

In order to expand your knowledge of a certain text, explore articles and videos that present alternate views. This allows you to not only expand the depth of your ideas but additionally, the opportunity to find opinions that you relate to or those that interest you. The more you explore the ideas that exist, the more you will obtain an inclination about what concepts you’d be willing to write about.

Understand the Characters in Text Response

Although it may be difficult to decipher the motives behind characters or the emotions they are feeling at a certain point in the text, insight into the minds of characters provides you with the opportunity to move beyond a black or white perception of them. Hence, you’ll be more inclined to pinpoint certain aspects of the character that you identify with and in turn, feel more confident in writing and presenting a unique perspective on them that distances you from the expected responses.

Themes of a Text

Within a text, there are an abundance of themes and it’s up to you to choose which interest you and which you’d be able to write the most about in order to showcase the depth of your understanding. You may relate to subjects within a text such as grief or betrayal and therefore, when you explore the text focusing on these themes, your writing will reflect your beliefs in an individual way that separates your ideas from your cohorts.

Language Analysis

Whilst language analysis relies on presenting an objective essay on the intention of the author, your voice will be shown more clearly by your chosen techniques and analysis. By pinpointing words or phrases within an article that you feel stand out or interest you within the context of the piece, you’ll be more likely to write an in-depth analysis on how the author has used the words or phrases to encourage consideration or prompt guilt as examples rather than provide a short summary of what they have said.

Amongst the thousands of students completing VCE English, it’s important to set yourself apart and demonstrate that you’ve got creative and original ideas that bring a new perspective to the text whilst allowing you to enjoy and find interest in Year 12 English.

This blog was updated on 21/10/2020.

2. Background

4. Chapter 1 Plot and Analysis

7. Sample Essay Topics

8. Essay Topic Breakdown

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

The Secret River is a historical novel telling the story of William Thornhill, a poor Englishman from the early 19th century who was deported and transported to New South Wales, Australia in 1806 for theft. This novel tells the story of Australia's founding and the moral choices made when  Europeans colonised land that was already inhabited by Aboriginal people.

During 18th century to mid 19th century, 162,000 men and women were transported to Australia, with majority from England. These people, known as ‘convicts’, had committed crimes such as larceny and robbery – acts which were considered severe offenses and demanded heavy sentences. In order to deal with the overwhelming masses of criminals, the government exported crowds of convicts to Australia to serve their term as labourers. The reason driving the deportation included an attempt to decrease poverty and crime in England while concurrently developing the British colony in Australia.

Many of the fleets from England were destined for New South Wales, Australia. Those on the fleets included the criminals, marines, and their families. Living in a penal colony, the criminals were employed depending on their various skills: farmer, boatman, servant etc. The settlers were award a ‘ticket of leave’ if they presented good behaviour during labour. This meant that settlers would become emancipists, where they were set free from the government’s sentence and could begin a life for themselves by making their own living. This suited the government’s goal for a successful and thriving colony since it would only be possible if people were to work for themselves, and not under the terrain of the government.

Although Australia was chiefly populated with Indigenous Australians, the first century of colonisation saw a drastic decline in their population. This was due to a clash of desire for the land; the native’s innate protection of their land and the white settlers struggle to declare their right to an area already inhibited by natives – possibly for 40,000 years. The two cultures failed to ever create a peace agreement or compensation and as a result, the frontier was often marked with blood. Overtime, a successful of the British colony meant that white settlement overpowered any possibility of the natives retaining their land. The Secret River’s exploration of this powerful change in Australia’s history is a poignant reflection of the past, and demands attention to the sensitive issue of Australian and native relationship that is still present today.

Set during the early 19th century. Located in London, Sydney and on the Hawkesbury.

Chapter 1: Strangers

The Alexander , a transport ship for convicts has reached New South Wales, Australia after a travelling across the world for majority of the year. William Thornhill, an Englishman convicted to sentence his ‘natural life in the Year of Our Lord eighteen hundred and six’ [pg 3] will serve as a labourer.

During his first night in New South Wales, where their homes are ‘only a flap of bark, a screen of sticks and mud,’ Thornhill digested the new land with its ‘rich dank smells…restless water…no Pole star’; an environment vastly differentiated from England. The unfamiliar situation is overwhelming as ‘he had not cried, not for thirty years….but now his throat was thickening.’ In his despair, Thornhill describes how being sentenced to New South Wales could potentially be worse than dying itself.

Initially, Thornhill believed his tears are clouding his vision since the ‘darkness moved in front of him’ [pg 5]. However, he then realised that a human, ‘as black as the air itself’ stood before him. The unusual appearance of this human struck Thornhill since ‘his skin swallowed the light…[and] eyes were set so deeply into the skull.’ Although clothed, Thornhill ironically felt ‘skinless’ against the other who was completely naked and holding a spear. Thornhill repeatedly demanded that the man ‘be off’, for fear of his family and himself being attacked. Despite his shouting, this only impelled the man to move closer to the point where they almost touched. The ‘black man’ [pg 6] reproduced ‘be off’ in Thornhill’s exact tone. While Thornhill’s fear of this strange human is prominent, he grappled the strength to exert a bold, intrepid veneer, as ‘he was not about to surrender to any naked black man’. When he glanced back to his wife and children however, the man promptly disappeared, leaving only the darkness behind. Thornhill returned to his hut where he laid back down to rest yet ‘every muscle was tensed…the cold moment of finding that unforgiving thing in his flesh.’

Environmental / Landscape conflict

For Thornhill, who has spent a lifetime in England, the confrontation of a new environment evokes a powerful sense of unfamiliarity. The unknown land presents him with various intrapersonal conflicts, one of which is the difference between England and Australian stars. While the physical distance of this new land from Thornhill’s home is demonstrated by the lack of a ‘Pole Star, a friend to guide him on the Thames, [and] no Bear that he had known all his life,’ [pg 4] the unrecognisable stars above Australia only depict a ‘blaze, unreadable, [and] indifferent.’ His conflict demonstrates his physical and emotional distance from Thames, a place he grown up surrounded by compared to Australia, where learning begins from the very basics, as shown when he absorbs the natural landscape around him. The night described as ‘huge and damp, flowing in and bringing with it the sounds of its own life’ [pg 3] highlights how the Australian land is unique, possessing qualities of existence.

Thornhill’s sense of negligence in the vast forest that continues ‘mile after mile’ is illustrated through the imagery of the ‘trees [which] stood tall over him,’ depicting that nature is a powerful and dominant force over the Europeans. While the trees render him insignificant, it also demonstrates his alienation from the environment. The ‘Alexander,’ a common traditional English name, represents an intrusion of the Europeans onto the Australian land, further highlighting the idea that they do not belong on this island.

The Australian land is depicted to be harsh and unforgiving, as highlighted through the imagery of ‘dirt chill...sharp stab...alien stars' [pg 4] This conflict with the brutal landscape, along with the unknown leaves Thornhill apprehensive of what is to come. His feeling that he was ‘nothing more than a flea on the side of some enormous quiet creature’ [pg 4] depicts the Australian land almost like a monster. Additionally, the words ‘restless’ draw to the idea that the land is at discomfort or uneasy to have new inhabitants.

Racial/Cultural conflict

The conflict between two cultures is shown through the initial encounter between Thornhill and an Indigenous Australian. Without any conversation, the tension between the two is clear, merely through their actions in each other’s prescence. Thornhill notes the Aboriginal male’s tattoos, yet regards them as ‘scars’ since he is unaware to their culture. Even before this man, Thornhill is still infused with a sense of nakedness because of his unfamiliarity.  His feeling that ‘every muscle was tensed…the cold moment of finding that unforgiving thing in his flesh’ highlights the tension of his first encounter of an Australian Aboriginal while it also foreshadows a suffering and anguish for his time ahead.

If you'd like to see the all Chapter plots, their analysis, along with important quotes, then have a look at our The Secret River Study Guide .

Conflict with land quotes

“Now it had fetched up at the end of the earth.” [pg 3]

“…this prison whose bars were ten thousand miles of water.” [pg 3]

“foreign darkness” [pg 3]

“…soughing of the forest, mile after mile.” [pg 3]

“He was nothing more than a flea on the side of some enormous quiet creature.” [pg 4]

Thornhill’s inner conflict quotes

“He had not cried, not for thirty years, not since he was a hungry child to young to know that crying did not fill your belly.” [pg 4]

“But every muscle was tensed, anticipating the shock in his neck or his belly, his hand going to the place, the cold moment of finding that unforgiving thing in his flesh.” [pg 6]

Racism quotes

“It took a moment to understand that the stirring was a human, as black as the air itself.” [pg 5]

“Clothed as he was, Thornhill felt skinless as a maggot.” [pg 5]

“This was a kind of madness, as if a dog were to bark in English.” [pg 6]

“He was not about to surrender them to any naked black man.” [pg 6]

Sample Essay Topics

1. William Thornhill is more worthy of our respect than our reprehension. Do you agree?

2. How does Kate Grenville explore hierarchy?

3. How does The Secret River’s symbolism enhance its exploration of alienation?

4. “Fear could slip unnoticed into anger, as if they were one and the same.” The Thornhills’ anger is valid. To what extent do you agree?

Now it's your turn! Give these essay topics a go. For more sample essay topics, head over to our The Secret River Study Guide to practice writing essays using the analysis you've learnt in this blog!

Essay Topic Breakdown

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

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

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Theme-Based essay prompt: T he Secret River depicts many layers of conflict, within but also between its key characters. Discuss

Step 1: analyse.

The key term of this prompt is conflict , but I think it’s also important to analyse how it’s discussed—as something that exists in layers , and something that can happen both within and between characters. This seems to hint at the idea that conflict can be internal—that is a single character can feel conflicted about something—as well as external—that is two or more characters can have some kind of dispute. This prompt will require us to think about all these different types of conflict. 

Step 2: Brainstorm

Let’s start with the most internal layer—conflicts with the self. In terms of key characters, consider William but also Sal: what debates do they have with themselves, or what do they say or do that shows they feel conflicted or unsure about something?  

Then, let’s broaden that out to interpersonal conflicts between characters. How do William and Sal, for example, come into conflict with their neighbours—both their white neighbours and their Aboriginal neighbours? How do they come into conflict with each other, even?

Maybe it’s worth separating the racial conflict into another category—conflicts between groups of characters, rather than individual characters. If we make this distinction, we need to be prepared to back it up—in what ways is this conflict of a different nature?

Step 3: Create a plan

I think we can pretty justifiably separate out our layers of conflict into those categories: interpersonal, interpersonal and interracial. This gives us three neat(-ish) paragraphs and a clear, affirmative contention: yes, there are many layers of conflict, and those are the three layers. 

P1: At its most intimate layer, conflict is internal—the moral dilemmas of William and Sal are particularly strong examples.

P2: Conflict can also be interpersonal—we can see this between William and Dan, or William and his neighbours, or between William and Sal even. It’s up to you which way you cut this paragraph.

P3: However, perhaps the central conflict that the novel is built around is interracial conflict between white colonisers and the Aboriginal people whose land they occupied. To extend the prompt a little, we can talk about conflict not just between characters or people, but also between value systems. For example, the way colonisers saw land and property were fundamentally incompatible with how Aboriginal people saw it—this is another type of conflict.

In this sense, we’re largely agreeing with the prompt, backing up the distinction between interpersonal and interracial conflict, and finding a way to extend on it a little towards the end. We can build this into the contention as well: there are many layers of conflict, but they occur not just between characters. They can also exist between the broad cultural values of entire groups of people as well. 

If you find this essay breakdown helpful, then you might want to check out our The Secret River Study Guide where we cover 5 A+ sample essays (written by a 50 study scorer!) with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals! Let's get started.

The Ultimate Guide to VCE Text Response

How To Write A Killer Text Response Study Guide

How to embed quotes in your essay like a boss

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

5 Tips for a mic drop worthy essay conclusion

2. Historical Context

3. Main Characters

4. Minor Characters

5. Dissecting an A+ Essay using 'The Golden Age'

6. Creative Essay Topic Brainstorm

7. Essay Topics

The Golden Age is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our VCE Text Response Study Guide.

Even though this hasn’t been one of the more popular choices on the VCE text list, Joan London’s The Golden Age is a personal favourite of mine for a number of reasons. This is a novel about the experiences of children recovering from polio inside a convalescent home in Perth. With a sympathetic and warm approach, London tells the tragic yet brave stories of these children, as well as the stories of their parents and carers.

The novel essentially revolves around Frank Gold, a Hungarian Jew and a war refugee, and London blends his mature voice with the innocence of a coming-of-age narrative, all set against the backdrop of World War II.

As you’re reading the book, watch out for her literary or poetic language, and keep track of the story’s overall mood. These will be important considerations for text study, particularly if you are to write a creative response on this text for your SAC. With this in mind, I’ve included writing exercises throughout this blog post for you to practise writing creatively on this text.

If you are writing analytically on this text, either for your SAC or for your exam, you may still complete the exercises—each one should still be insightful for your writing in some way. Also, feel free to check the video below; it breaks down an analytical prompt for this text.

Historical Context

This novel is set in Perth during the early 1940s, which gives rise to a couple of interesting historical elements all intersecting in the book.

Crucially, the events of the novel take place for the most part while World War II is raging in Europe. This is important for understanding the backstory of the Gold family: they are Hungarian Jews who have escaped their war-torn home of Budapest to seek safety in Australia. In particular, we know that at some stage, Meyer had been taken away to a labour camp, and that Frank had had to hide himself in an attic.

Their Hungarian heritage, however, is something that distances them from other Australians, and they never really get a good chance to settle in, always feeling like they just weren’t on the same wavelength as the locals. In many ways, the story of the Golds is underpinned by tragedy—not only are they war refugees, but young Frank then contracts poliomyelitis (known to us just as polio), which forces the family to reassess all the plans they had for him to settle into an ordinary, Australian life.

However, Frank was far from the only victim of polio at the time—the entire nation was rocked by a wave of polio , with major outbreaks during the 1930s-40s. This was quite a nerve-wracking, and causing great fear for our country and its active, outdoors-y culture. The prospects of death, paralysis and permanent disability were understandably terrifying. About 70,000 people were affected, and almost half of them eventually died as a result. Almost every Australian at the time knew or knew of someone who had polio.

Task: You are Ida, composing a letter to Julia Marai after Frank’s diagnosis. Convey succinctly (in 250 words or less) what you think and how you feel. ‍

Key themes & implications.

I like to think that a lot of the themes in this book exist in diametric or opposing pairs. For instance, London gives Frank a voice that is wise beyond his years, yet uses it to tell a tender story of first love. She also plays on the paradox that while some characters have become isolated due to the unfortunate events that have befallen them, these very events end up becoming the thing that unite them.

Essentially, London plays with a lot of these thematic tensions, showing us that life isn’t really ever black and white, but there are whole lot of grey areas in every day life.

Central to the novel are ideas of innocence or childhood . These ideas are really explored in the friendship between Frank and Elsa, who are both on the cusp of adolescence. While they are set up as young lovers in the eyes of readers, we know that they are far too young to truly have romantic feelings for each other. In actual fact, their interactions are permeated by a sense of innocence.

However, these interactions are also punctuated by a sense of maturity , a desire for more. This is evident to the extent where nurses are getting hesitant about leaving them alone with each other (even though their parents still trust them entirely). In actual fact, these parents serve as an important point of contrast. Some manage to recapture the magic of youth even as adults—consider Ida reigniting her love for the piano, or Meyer jumping on opportunities to start anew. In this sense, innocence and maturity are a pair of themes that are interestingly not always found where one might expect.

Another key thematic element of the novel is tragedy or adversity , which are relevant to a far wider gamut of characters. Considering the story’s geographical and historical setting, it seems evident that these ideas will play a major role in the story. A particularly poignant example lies in Sullivan, who contracts polio right on the cusp of adulthood, and readers can’t help but feel a sense of loss for what might have been.

However, on the other end of this spectrum is the strength required to cope with their suffering. While Sullivan had his indefatigable sense of humour, other characters have developed different mechanisms to stay strong in the face of adversity. In some cases, you might say that they’ve transcended or risen above their tragedies, and become stronger for it.

Finally, London also tackles the idea of isolation , which can be seen as a consequence of tragedy—characters become isolated because they lose their ability to relate to others, and others feel unable to relate to them. Symbolically, the Golden Age hospital is surrounded by four roads and therefore cut off from the world, almost as if quarantined. However, the solidarity and unity of patients inside becomes a great source of strength—I’ll leave it to you to think about what London was trying to say with this!

Task: Selecting one of the above themes, write a poem from the POV of an imaginary spectator in the novel, outlining how you perceive/experience these themes in other characters. Use all five senses(how you see it, hear it, smell it, taste it, and touch/feel it)

Major characters.

I haven’t written too extensively about characters for a range of reasons: on one hand, it’s important for you to form your own interpretations about what they’re like and why they do the things they do, but on the other hand, I wanted to leave you with some key points to consider and/or some essential points about their characters to incorporate into your writing. This will allow you to hopefully feel like you’re capturing them accurately when writing your creatives, but without feeling restricted by an extensive set of traits that you have to invoke.

• the central character, he is cerebral, intelligent and mature (which we can tell from his narrative voice, or how he ‘sounds’)
• he is, however, still very young, wide-eyed, inquisitive in spite of the tragedies which have befallen him (consider how he sees his relationship with Elsa)
• also significant is the motif of his poetry; not only does it highlight his maturity, but it also acts as a way for him to voice or articulate his feelings and experiences in the hospital—you could try incorporating some poetry in your writing (either original poems or quoted from the novel)

Elsa Briggs

• another central character who becomes quite attached to Frank (they are the two eldest children in the Golden Age)
• she is warm, caring and selfless, demonstrating an emotional maturity beyond her years (because of having to bear the metaphorical albatross of polio)
• a lot of what we know about Elsa comes from Frank’s perspective (though we do get some insight from her own, and some from her mother’s)—how does this shape the way we see her? Consider London’s use of imagery, portraying her as an angelic figure.

Ida & Meyer

• Frank’s parents, Hungarian Jews, and war refugees who come to Australia to cleanse them of their pasts and to have a fresh start; some of this is purely by circumstance, but there are parts of their past that they willingly and actively eschew e.g. Ida’s piano
• note that Hungary is a landlocked country in the midst of European hustle and bustle with easy access to other nations/cultures/peoples, but Australia is an island on the other side of the world—consider how this affects their sense of isolation
• on the other hand, they do form new connections with people here and in their own individual ways; Ida by reclaiming her pianist talents and Meyer by taking up a new job

Task: You are Elsa, Ida, or Meyer and you’ve just discovered Frank’s poem book. What are your thoughts and feelings towards his writing? Consider the context of your chosen character’s own experiences

Minor characters.

I’m sure you’ve heard it by now, but any piece of text-based writing (creative or analytical) can be strengthened by diversifying the range of characters that you write about. Even though you’ve already differentiated yourself from most VCE students by even doing this text at all (very few people choose it, so props to you!), some inclusion of more minor characters might help to distinguish yourself further. I’ve picked some that I think are interesting to talk about, but feel free to experiment with others as well!

• a young man who contracts a severe strand of polio right on the cusp of adulthood, thereby exemplifying the theme of tragedy—however, his sense of humour remains active in spite of his immobility, so perhaps he not only exemplifies this theme but subverts it as well
• London poses the complex question of whether or not he’s actually unhappy or defeated as a result of polio; there’s no clear answer, since there’s many ways to interpret his humour (is it a sign of strength or is it a front for inner turmoils expressed through poetry?)
• in addition to his humour and poetry, his relationship with his family could also be an interesting point of discussion to address some of these questions
• a young girl in the hospital who is quite close to Elsa (almost in a sisterly way)—how have they developed this relationship, and how does this relate to the theme of unity/companionship/human connection?
• notably, she wanted to rehabilitate herself after polio took away her ability to feed the brumbies in her desert town—think about how this might represent strength as well

Julia Marai & Hedwiga

• Ida’s former piano teacher and her flatmate/partner who live at the top of an apartment block in Budapest; they shelter Frank in their attic under no obligation whatsoever, but purely out of the kindness and selflessness of their hearts
• again, there’s this subversion of what it means to be isolated: on one hand, their apartment is so cut off from the rest of the world below, and they lead a largely self-sufficient life together, but on the other hand, the fact that they’re together means that they’re not entirely isolated consider the power of human connection in this context as well

Task: Pick a minor character from this list and a character from the above list of major characters, and write about them meeting each other for the first time. Pick two that do not already interact closely within the novel e.g. Elsa meeting Sullivan

I hope this gives you some ideas or starting points about writing creatively on this text!

Download the PDF version of The Golden Age study guide   here .

Dissecting an A+ Essay using 'The Golden Age'

Picture this: you’re sitting down at your desk, fumbling your fingers, inspecting the new stationary that you convinced yourself you needed for year 12, resisting the urge to check your phone. Your text response SAC is in two weeks. You’re freaking out because you want, no, need an A+. You decide to write a practice essay for your English teacher. Practice makes perfect, right? You stay up for hours, pouring your heart and soul into this essay. The result? B+. Where did I go wrong?

That’s where I come in! Writing an A+ essay can be really tough without examples and specific advice. Before reading on, make sure you've read our Ultimate Guide to VCE Text Response so you are up to scratch.

I will be explaining some basic dos and don’ts of writing an essay on The Golden Age , providing a model essay as an example.

The following prompt will be referenced throughout the post;

‘The Golden Age’ shows that everyone needs love and recognition. Discuss.

Planning: the silent killer of A+ essays

I’m sure your teachers have emphasised the importance of planning. In case they haven’t, allow me to reiterate that great planning is compulsory for a great essay . However, flimsy arguments aren’t going to get you an A+. The examiners are looking for complex arguments , providing a variety of perspectives of the themes at hand. From the above prompt, the key word is, ‘discuss’. This means that you should be discussing the prompt, not blindly agreeing with it . Make sure you don’t write anything that wouldn’t sit right with London. ‍

Don’t plan out basic arguments that are one-dimensional. This may give you a pass in English, but won’t distinguish you as a top-scoring student.

• Paragraph 1: The children at TGA need love and recognition.
• Paragraph 2: Ida and Meyer need love and recognition
• Paragraph 3: Sister Penny needs love and recognition.

The above paragraphs merely agree with the statement, but don’t delve into the many aspects of the novel that could contribute to a sophisticated essay.

Do create complex arguments, or paragraphs with a twist! If you can justify your argument and it makes sense, include it in your essay. There are many ways that you could answer this question, but my plan looks like this:

• Paragraph 1: Frank Gold yearns for mature, adult love, not recognition from onlookers or outsiders
• Paragraph 2: Ida Gold does not seek recognition from Australia, but love and validation from herself
• Paragraph 3: Albert requires love from a specific kind of relationship – family, and Sullivan may view love from his father as pity which he rebukes

See the difference?

The introduction: how to start your essay off with a BANG!

Personally, I always struggled with starting an introduction. The examiners will be reading and marking thousands of essays, so if possible, starting your introduction with something other than Joan London’s ‘The Golden Age’… is a great way to make you stand out from the crowd. Having a strong start is essential to pave the way for a clear and concise essay. You could start with a quote/scene from the text! This is not essential, but it’s a great way to mix things up. This is my start:

Perhaps nothing exemplifies the power of love and recognition more than the bond between Albert Sutton and his older sister, Lizzie, in Joan London’s ‘The Golden Age’. Many of London’s characters exhibit suffering that requires compassion and support to heal and grow, to distinguish present from past. However, London explores the perspectives of such characters from different aspects of trauma, and emphasise that love and recognition do not always work to heal and mature. Frank Gold, the novel’s resident “sneaky” boy who adjusts to newfound life in the Golden Age Convalescent Home seeks love as an adult, rather than eliciting sympathy as a supposed victim. Here love and recognition are unsuccessful in amending Frank’s troubles when given from the perspective of an outsider, a judgemental onlooker. In a similar sense, Ida Gold seeks recognition not from Australia, who she views as a ‘backwater’, but validation in herself after having been ousted from her Hungarian identity. London, however, makes sure to emphasise the impact that Sullivan has on Frank Gold’s life. Sullivan, a boy only a few years older than Frank, seems content with his future, with his fate, despite his sacrifice of rugby and conventional life.  There is a lacking sense of urgency for love and recognition in Sullivan’s life, rather, it appears that Sullivan accepts his fate, regardless of his father’s sympathy or support. Thus, London explores a myriad of ways in which love and recognition may or may not heal wounds inflicted upon individuals.

Remember, there are many other ways you could start your essay.

The body paragraphs: To TEEL or not to TEEL?

I’m sure you’ve heard of TEEL countless times since year 7. Topic sentence, evidence, explanation, link. The truth is that these elements are all very important in a body paragraph. However, following a rigid structure will render your essay bland and repetitive. It is also extremely important to note that you should be using evidence from multiple points in the text , and you should be making sure that your paragraphs are directly answering the question . Write what feels natural to you, and most importantly, don’t abuse a thesaurus . If you can’t read your essay without rummaging for a dictionary every second sentence, you should rewrite it.  If vocabulary isn’t your strong point (it definitely isn’t mine!), focus on clean sentence structure and solid arguments. There’s nothing worse than you using a fancy word incorrectly.

Don’t overuse your thesaurus in an attempt to sound sophisticated, and don’t use the same structure for every sentence. For example:

Prematurely in the paperback London makes an allusion to Norm White, the denizen horticulturalist of The Golden Age Convalescent Home…

That was an exaggerated example generated by searching for synonyms. As you can see, it sounds silly, and some of the words don’t even make sense. I mean, “denizen horticulturalist”…really?

Do mix up your paragraph structure! If vocabulary is your weak point, focus on clean language.

Here’s mine:

Early in the novel, London makes reference to Norm White, the resident groundskeeper of The Golden Age Convalescent Home. Norm White hands Frank Gold a cigarette, “as if to say a man has the right to smoke in peace”. Here, there is a complete disregard for rule and convention, an idea that London emphasises throughout the text. This feature provides a counter-cultural experience for Frank, pushing him to realise that he is a strong human being rather than a mere victim. This is a clear contrast to the “babyishness” of the home, and is used as evidence of true humanity in an era where society judged upon the unconventional. Frank yearns for a traditional Australian life after his trauma in Hungary; “his own memory…lodged like an attic in the front part of his brain”. Hedwiga and Julia Marai’s caring of him pushed him towards fear and reluctance to trust, yet also pressured him to seek acceptance in a world that ostracises him for his Jewish heritage and polio diagnosis. This here is why Frank desires a mature, adult connection – love that regards him as an equal human being. Frank seeks Elsa’s love and company as she too loathes being reduced to a victim, an object of pity. Frank thereafter uses humour to joke of his wounds; “we Jews have to be on the lookout”. Elsa sees “a look in his eyes that she recognised”, thus their bond enables both characters to heal. London alludes that Frank requires love and recognition not from the perspective of a sorrowful onlooker, rather he longs to be recognised as a mature adult.

To learn more about using the right vocabulary, read 'Why using big words in VCE essays can make you look dumber'.

The conclusion: closing the deal

I firmly believe in short and sharp conclusions. Your body paragraphs should be thoroughly explaining your paragraphs, so don’t include any new information here. A few sentences is enough. Once again, write what feels natural, and what flows well.

Don’t drag out your conclusion. Short and concise is the key to finishing well.

Do write a sharp finish! Sentence starters such as, “Ultimately…” or “Thus, London…” are great.

Although trauma is often treated with love and compassion, London details different perspectives on this idea. Whilst Frank Gold requires a specific kind of recognition, Ida and Meyer seek validation in themselves and their relationship, whilst Sullivan is at ease with his fate and does not yearn sympathy from his father.

‍ To learn more about A+ essays, you should also have a read of 10 easy English points you're missing out on .

I'll finish off by giving you an exercise: brainstorm and write up a plan for the essay topic shown in the video below. I'd recommend you do this before watching Lisa's brainstorm and plan. That way, you can see which of your ideas overlapped, but also potentially see which ideas you may have missed out on. Good luck!

The Golden Age Essay Topic Brainstorm

[Video Transcript]

The takeaway message for this video will be to utilise minor characters here and there to deepen your argument. London has really developed all her characters to feel three-dimensional and real, so it’s important not to just write about Frank and Elsa when there are so many others worth touching on.

Let's head straight into background information:

Joan London’sThe Golden Age is a novel about children recovering from polio in a convalescent home in Perth. She tells the stories of these various children, their families, and their caretakers, focusing on FrankGold and Elsa Briggs, the young protagonists who are just starting to develop romantic feelings for each other. Though they, and many of the other children, have faced much hardship and misfortune, London tells a story of hope and human connection in times of misery.

On that note, today’s essay topic is:

The Golden Age  is primarily a tragic tale of isolation. Discuss.

Let’s break this prompt down and define some keywords. The keywords we’ll be looking at first are isolation and tragic. We’ll be defining them quite briefly, but be sure to think about these in terms of how they relate to the novel. In particular, see if any scenes, passages or characters jump to mind.

Isolation is a state of being alone or away from others and can be associated with a sense of powerlessness or insignificance. Tragic can simply just mean sad, depressing and loaded with sorrow or ‘pathos’, but there are also literary implications to this word: you might’ve done a tragic Shakespeare play and learned this before, but in general, a tragic story centres on a hero who encounters misfortune, and treats their demise in a serious or solemn way. Note that a good essay will discuss both these terms, and will address not only isolation but also the question of whether or not it is treated tragically.

The other important word is ‘primarily’. This word in the prompt suggests that The Golden Age is  for the most part  about these ideas - for you, that means you should ask yourself how central you think they are, and make a call on whether they are the  most  central.

Well, it’s definitely true that elements of isolation and separation do exist in The Golden Age, but these themes are not primarily tragic ideas in the novel -London explores the way in which hope can shine through in times of hardship. In fact, the novel overall has a message of kinship and hope, and this would be the primary thematic focus, as well as the main treatment of otherwise tragic ideas. So how might this look in paragraphs?

Paragraph 1: Let’s concede that the novel does evoke sadness through its frequently sombre tone and treatment of isolation

We see this through characters such as Ida and Meyer, who have been cut off from the world in their escape from their war-torn home, and forced to transition from their landlocked Hungary to an island on the other side of the globe. Their struggle to adjust is evoked through symbols - for instance, black cockatoos, which represent a “homely, comforting” omen to locals, sound “melancholy [and] harsh” to Ida. In particular, London’s solemn characterisation of Ida as constantly “frowning”, and as having a “bitter little mouth that usually gripped a cigarette ”works to emphasise her ennui or her dissatisfaction with being cut off from the world. Their homesickness is evoked through this constant longing for home, though sometimes much more literally: Meyer feels that “never again on this earth…would, he feel at home as he once had.”

Similarly, the story of Sullivan Backhouse, confined in an “iron lung” and physically isolated from outside contact, is also primarily tragic. London develops this character and gives him a backstory - he has “just turned eighteen” and had been the “prefect [and] captain of the rowing team.” This gives readers an idea of the life he might have had if not for the tragedy of his condition. Even in spite of his “good-humoured nature”, his poetry belies the pessimism within - his book, morbidly entitled “on my last day on earth”, closes with the line “in the end, we are all orphans.” We can thus see how lonely he must have felt when he tragically passed away.

In this paragraph, we’ve considered three different characters, whereas a lot of people writing on this text might just do a character per paragraph, so this is a good way to really show the examiners that you’ve considered the full extent of what the book offers. Let’s continue this as we move onto…

Paragraph 2: We disagree, however, since the novel includes various other moods and thematic material - in particular, London explores notions of resolve and hope in times of hardship 

Now, the first character that comes to mind would have to be Elsa - London uses particularly powerful imagery, such as her “translucent”, “golden wave” of hair or even her “profile, outlined in light”, to portray her as angelic or elysian. For the children, Elsa evidently represents hope - even in her state of isolation, her “graceful and dignified” demeanour and her quiet acceptance that polio “was part of her” is courageous and worthy of admiration.

Moving onto a minor character who was perhaps inspired by Elsa - the young Ann Lee, who was quite close to Elsa, also has a story which is more inspiring than tragic. When polio first crippled her, she found herself unable to give water to the brumbies in her desert town. As a result, she perseveres, “step after painstaking step” so as to be able to return home and “give a drink to thirsty creatures.” Her compassion and determination to work against her isolation become the focus of her tale.

Paragraph 3: In fact, the  novel ’s focus is on hope rather than tragedy

A range of other characters demonstrate the power of love and human connection in the face of adversity, and London seems to be focusing on these ideas instead. Plus, it’s not just the children who are brave in the face of tragedy, but ordinary people prove themselves to have the potential for strength and courage. Take Julia Marai and Hedwiga, who hide Frank in their attic during the Nazi invasion of Hungary. Even though their apartment is “on the top” of the block, and isolated in its height, suspended from the world, they become “provider[s]” for Frank. London writes that in difficult times, “kindness and unselfishness were as unexpected, as exhilarating, as genius,” and it’s easy to see how these qualities form a counterpoint to the tragedies that permeate the novel, allowing hope to shine through. 

And that’s the end of the essay! Being able to explore minor characters like we did here is a really good way to show examiners that you have a deeper understanding of a text, that you’ve considered it beyond just the main characters on the surface. The Golden Age is a really great one for this because London has done so much with her cast.

Essay topics

1. “Being close made them stronger.” In The Golden Age , adversities are tempered by camaraderie. Do you agree?

2. Despite the grim context, The Golden Age highlights and celebrates the potential of life. Discuss.

3. Memories of past successes and failures have significant lingering effects on characters in The Golden Age . Is this an accurate assessment?

4. “[I would be] a fox, following a Palomino.” How do animals such as these contribute symbolically to The Golden Age ?

5. It is largely loneliness which defines the struggles of the children in The Golden Age . Discuss.

6. In what ways is The Golden Age a novel of displacement?

7. Fear of the unknown is something which permeates The Golden Age . Is this true?

8. What is the role of family in Joan London’s The Golden Age ?

9. Isolation in The Golden Age exists in many oppressive forms. Discuss.

10. Throughout The Golden Age , London draws attention to beauty rather than to suffering. Discuss.

11. In spite of their youth, it is the children of The Golden Age who understand best what it means to be an individual in the world. Do you agree?

12. How do characters from The Golden Age learn, grow and mature as the novel takes its course?

13. Due to the range of different onset stories, each of the children and their families in The Golden Age face a different struggle with their identity. Discuss.

14. “Home. She hadn’t called Hungary that for years.” In spite of all their struggle, the Golds never truly feel any sense of belonging in Australia. To what extent do you agree?

15. Explore the factors which drive Joan London’s characters to persevere.

The Ultimate guide to VCE Text Response

Can you believe it’s already 2021? To kick off the year in VCE English, you’ll probably be working on your Oral Presentation sometime soon. The past year has flown by, but so much has happened in that year - there are plenty of juicy and controversial topics to get stuck into for your SAC.

Each heading below represents a broad topic and each subheading under it takes you into more specific debates. A more precise topic can make your speech more engaging and current, so feel free to pick a broad issue that resonates with you but don’t forget to zoom in on more specific questions too.

If you haven’t already, check out our Ultimate Guide to Oral Presentations for some general tips and tricks to get you started!

1. Working From Home

ICYMI, there’s been this global pandemic going around for about a year now. It’ll probably come up in a few speeches this year, but let’s work through some more specific ways of using it in yours.

First up is working from home. In 2020, a lot of people spent a lot of time working from home - but this hasn’t been possible for everyone, meaning that it could be worsening certain forms of inequality. ‘Essential workers’ like supermarket clerks and delivery drivers have not been able to work from home, which might put them at a disadvantage when it comes to the flexibility or even the conditions of their work. Conversely, a ‘ tax on remote workers ’ has been proposed which would see people pay a 5% tax if they chose to work from home instead.

Is working from home all that it’s chalked up to be? Is it a positive sign of flexibility, or a widening gap between the manual working class and white-collar professionals? What can we learn about working from home now that we can apply to the future? Is it the environmentally responsible thing to do?

The hidden impact of the coronavirus pandemic is rising urban inequality – 26/11/2020 ‍ Rebound in carbon emissions expected in 2021 after fall caused by Covid – 11/12/2020

Possible Contentions: 

• All workplaces, especially those with essential manual or physical labour, should provide paid health and safety training to staff who are for example more at risk of disease
• A working from home tax is a bad idea - it encourages people to commute and pollute. We should look to ways of promoting flexibility and sustainability instead
• Casual workers in manual professions should be given paid sick leave and other entitlements to make their jobs as flexible as remote office workers

2. Education

You might’ve spent 2020 learning from home too. Everything happened pretty quickly right at the start of the year, but as the months wore on it became clearer that some students were adjusting better than others. In particular, ‘ digital exclusion ’ became a big problem for many students around the country. Inequality is once again a big theme: access to the internet and other technology is vastly uneven, and students who were already dealing with things like mental ill-health were set further back by remote learning. Even though the Victorian government applied special considerations to all Year 12 students in 2020, this is far from a long-term fix.

What can be done about the education system to make it fairer, or even just to make it work better for you? Is it an issue with technology, or are there underlying problems around, say, mental health and wellbeing? Maybe it’s time to axe the ATAR system - would a new scoring system solve these problems?

Coronavirus kept Victorian students out of class. This is what we know about long-term effects of school closures – 21/09/2020 ‍ Government must address barriers to education in rural and remote areas, inquiry finds – 12/11/2020 ‍ The ATAR Benefits No-One: Reflections of a ‘High-Achiever’ – 02/11/2020 (yes this is a shameless plug for my own piece)

Possible Contentions : 

• The government should supply public schools with tech for every student, including iPads and broadband devices
• The government should implement a needs-based approach to technology in schools
• Schools need engagement staff as well as teaching staff: COVID-19 has shown just how easy it is for students to disconnect
• Replace the ATAR with something that measures skills and interests, rather than just results

The Climate Crisis

1. the paris agreement.

The Paris Agreement is an international agreement that was signed a little over five years ago. It binds every country to a commitment of carbon neutrality by 2050 - this means that everyone will be taking as much CO2 out of the atmosphere as we emit. Part of the Agreement is that countries have to commit to new, increasingly ambitious plans every five years, and this deadline has just passed.

How did we do, you might ask. While the mid-century goal still stands, the five-year increment isn’t looking fantastic - most countries , including Australia , haven’t strengthened their climate targets. The Prime Minister was even snubbed out of a speaking slot at a UN climate summit, some suggest because of his inaction on climate. None of this has really snatched headlines though.

Is this something that you’ve been following? If not, is it a problem that this news isn’t really getting out there? What can Australia do better with regard to the climate crisis?

The Paris agreement five years on: is it strong enough to avert climate catastrophe? – 08/12/2020 ‍ The Paris Agreement 5 years on: big coal exporters like Australia face a reckoning – 14/12/2020 ‍ Australia records fourth hottest year as it risks being isolated globally on climate change – 05/01/2021

• Australia needs to be proactive on the Paris Agreement, rather than doing the bare minimum
• Australia needs to transition away from coal
• Our country’s lack of climate action is a great source of shame, particularly for young Australians who want a better future
• The Australian media should take the climate crisis more seriously

2. Environmental Racism

One aspect of the climate crisis we’re starting to talk about more now is environmental racism. The term started in the US , where it was used to describe the disproportionate impacts of environmental problems like pollution on working class people of colour. That doesn’t mean it doesn’t apply in Australia though - earlier in 2020 , a sacred Aboriginal site was blasted by Rio Tinto in order to expand a mine. Now, taxpayer money is being set aside for fracking in the Northern Territory. This will have an adverse impact on not only the climate, but also the local water quality on which First Nations communities depend.

What can be done about environmental racism? Is it about making changes in government, or about activism from outside the halls of power? If environmental racism is the problem, is there a solution that can tackle both problems at once? Is it even accurate to refer to them as two separate problems?

The young Indigenous woman fighting fracking in remote NT – 11/11/2020 ‍ $50 Million Hand-Out to Northern Territory Frackers – 17/12/2020 ‍ Fighting not just to survive, but to flourish – 21/12/2020 ‍ Making sense of Australia’s climate exceptionalism – 01/01/2021

• Indigenous land rights is not just a social movement: it could help us avoid environmental disaster as well
• Politicians are too reliant on fossil fuel companies: we need more grassroots activism around climate justice
• Fracking is dangerous, its impacts disproportionately affect BIPOC communities and as such it should be banned

3. A Carbon Price?

This topic was kind of on our 2020 topic list , but the debate around climate action has changed a little bit since. A carbon price would make the atmosphere a commodity basically - corporations would have to pay in order to pollute.

But maybe that’s still giving them too much power? If you can just pay your way out of environmental responsibility, who’s to stop you from polluting? Maybe there isn’t a capitalistic or free-market solution to carbon emissions - maybe we need to rethink our entire relationship with land and country. What can and should Australia learn from its First People in this regard?

Australia’s plants and animals have long been used without Indigenous consent. Now Queensland has taken a stand – 16/09/2020 ‍ ‘As an Australian it will affect you. It’s your land as well’: Indigenous tourism’s new online travel agency – 03/12/2020 ‍ What is cultural burning? – 31/12/2020 ‍ The barriers to a carbon fee and dividend policy – 07/01/2021

• A carbon price is still necessary, but it’s a stepping stone in a larger conversation
• Putting a price on excessive pollution isn’t the same as creating laws to prevent it: as such, it is no longer enough

1. First Nations Justice

You might recall the huge impact that George Floyd’s death had on conversations about race around the world. Though this erupted in a wave of furore last June, the conversation has been shifting ever since. In Australia, we’ve been grappling in particular with First Nations justice. While the Prime Minister ’s made attempts to unify the country through certain words and gestures, First Nations leaders such as Lidia Thorpe , the first Indigenous senator from Victoria, have been calling for something more substantive. In the meantime, police brutality against First Nations people continues.

Where to from here? What does the future of First Nations justice look like in Australia, and what is the role of leaders like Ms Thorpe? Where do non-Aboriginal folks fit into this? What could we do better?

Lidia Thorpe: Victoria's first Aboriginal senator urges end to deaths in custody and mass incarceration – 09/09/2020 ‍ ‘We have the fight in us’: Lidia Thorpe’s incredible journey to historic place in the Victorian Senate – 23/09/2020 ‍ 'Unfinished business': Senator Lidia Thorpe on fighting for Treaty for Indigenous Australians – 10/12/2020 ‍ Can we breathe? – 31/12/2020

• Reconciliation is an outdated term; it implies two parties are coming together as equals, when history would tell us otherwise
• Lidia Thorpe’s election is the first step in a longer journey towards representation, truth-telling and self-determination
• Even after the #BlackLivesMatter movement in 2020, we still a long way to go with anti-racism
• Australia is far from a multicultural utopia: we need to learn to treat politicians like Lidia Thorpe with more respect

2. Refugees

In 2019, the ‘medevac’ bill allowed refugees to be brought to mainland Australia for medical care. That bill has since been repealed, but it did allow some refugees to leave their detention centres and receive medical treatment. 60 of them have now been detained in various Melbourne hotels for over a year now. In December, they were moved to a former COVID-19 quarantine hotel, where they will continue to be isolated and detained.

What injustices (plural) are going on here? Did medevac force us to confront our out-of-sight-out-of-mind asylum seeker policy? And if this isn’t the impetus we need to shut offshore detention once and for all, what exactly will it take?

The Mantra 60 should be freed from torture. Here’s why the Coalition won’t do it – 15/12/2020 ‍ Former mayor among protesters arrested as police escort refugees and asylum seekers to new Melbourne hotel – 17/12/2020 ‍ Refugees and asylum seekers moved from Mantra hotel in Melbourne – 17/12/2020 ‍ ‘We are human, we are not animals’: Mantra refugees transferred to another hotel – 17/12/2020

• Bring back medevac: it was a bare minimum policy to begin with, and it’s unconscionable that it would be repealed, thereby denying sick people healthcare
• Australia’s refugee policy is as lazy as it is harmful: something needs to change
• The hotel industry is profiting off detention and we should consider boycotting chains like Mantra

3. COVID-Related Racism

This could’ve gone in the first section, but it poses important questions about ongoing and future race relations in Australia. During 2020, Asian Australians and particularly those with Chinese heritage experienced a sharp increase in racially-provoked harassment. Towards the end of the year, Chinese Australians were asked in a Senate committee hearing to condemn the Chinese Communist Party, which many have described as race-baiting. Many Australians with Chinese heritage have no relation to the Chinese government, so it’s jarring that they’d be called upon to give an opinion like this.

How does race still impact civic life in Australia? If you’re Australian, should you be expected to have opinions about or deny loyalties to foreign governments? Does it matter what race you are, and if so, how is that problematic?

Chinese Australians say questions from Senator Eric Abetz about their loyalties are not asked of other communities – 15/10/2020 ‍ Eric Abetz refuses to apologise for demanding Chinese-Australians denounce Communist party – 16/10/2020 ‍ More than eight in 10 Asian Australians report discrimination during coronavirus pandemic – 02/11/2020 ‍ Too many men in pin-striped suits – 10/12/2020 (this is an interesting one that also touches on gender and class in civic life)

• Politicians are increasingly out of touch with Australia’s diverse communities because they are just so overwhelmingly undiverse
• Again, Australia is not a multicultural utopia. When times get tough, the racism really jumps out
• Australians are yet to confront the reality that there are Chinese Australians (which sounds like a joke, but based on these articles isn’t really a joke) - their behaviour continues to ‘other’ people who actually really are Australian, telling them they somehow don’t belong
• More people of colour should run for public office; this starts with civic empowerment in schools

1. Representation

As it turns out, journalism isn’t a very diverse profession. When issues about disability come up, for example, they’re often covered by abled journalists in a “pity party” or “inspiration porn” manner. When issues about race come up, it’s also often white people who cover them, usually with racist undertones as well. We started seeing a bit of this in 2020: the stories that kept coming up about people breaking COVID restrictions were often targeting minorities - their names and faces would be splashed across newspaper front pages, while their white counterparts were afforded privacy and forgiven for making a mistake.

How fair is the media landscape towards people from minority backgrounds? What different forms might racism and ableism take in the media, and how can we overcome them? Is it as simple as allowing disabled people to tell their own stories, for example?

Muslims, Chinese Australians and Indigenous people most targeted in racist media coverage – 11/11/2020 ‍ ‘Double standard’: Experts weigh in on publicly shaming only certain COVID rule-breakers – 22/12/2020

• The media landscape isn’t fair towards minorities: stereotypes can be subtle but persistent
• Journalism schools should create more scholarships for diverse applicants
• Australian media should adopt a code of ethics around representation of minorities

This may or may not come as a surprise to you, but young people are also one of the groups that are likely to be underrepresented in the media. A report from the Foundation for Young Australians found that there were not only less stories about young people in the media in 2020, but barely half of them actually quoted a young person.

Again, we return to questions around representation - does the media have an ethical obligation to let young people tell their own stories? How much do you, as a young person, trust the media to accurately depict you? What can be done about this?

Young People Have Been Pretty Much Ignored By The Media During COVID – 28/10/2020 ‍ Research Report: mainstream media either ignores young Australians or castigates them – 21/12/2020

• Young people can no longer trust the media, and this is detrimental to civic society
• There needs to be a national youth broadcaster, kind of like the ABC, run by young people for young people

Remember Kevin Rudd? The former Prime Minister has been making waves recently for starting a parliamentary petition for a royal commission into media diversity. The petition was signed by a record 501,876 people, and it looks like the commission - a bit like a government inquiry - will go ahead. The ‘media diversity’ in question isn’t about race or disability though - it’s more about media ownership. In Australia, Rupert Murdoch owns almost two-thirds of metropolitan media circulation. He’s also a climate sceptic , which means a large chunk of his media output is also climate-sceptic.

What is the role of media in democracy, and can it still fulfill that role if one person gets to own so much of it? What are some ways Murdoch has used his influence, and what have been the consequences for the Australian people? What should the royal commission look to now achieve?

Petition calling for media royal commission and setting Australian record tabled in Parliament – 09/11/2020 ‍ Rudd and Turnbull will be called to give evidence at Senate inquiry into media diversity – 11/11/2020  

• Because the media holds government to account in the eyes of the people, one person owning this much of the media gives them too much power
• Australia’s climate inaction is a direct result of Murdoch’s media empire, and we need to break it apart to get honest debate and coverage

Pop Culture

In December 2020, the Australian singer Sia was caught in a bit of Twitter beef. She defended casting Maddie Ziegler, an abled actress, in a disabled role for her upcoming film. Disability justice activists argued that autistic people should be able to portray themselves, and that roles for autistic people should be written by them as well. Sia later admitted this was “ableism”, but didn’t back down on her decision.

What is the appropriate way for celebrities and creatives to approach representation? Without debating anyone’s actual identity, how can the film industry do better here?

Sia opens up about lashing out on Twitter to defend her new film – 19/12/2020 

• Abled people shouldn’t write roles for disabled people, nor should they play these roles; if a disabled person can’t play the role, then it isn’t appropriate in the first place
• Cancel culture isn’t a thing, given how comfortable Sia feels admitting to ableism and then committing to her decision anyway
• We shouldn’t cancel people, but we still need new ways to really hold them to account: otherwise, they can still get away with discrimination

The Grammy Awards have been oft-criticised for racial biases, including once again in this year ’s coming ceremony. Black artists like Beyonce are often relegated to subcategories like R&B and rap - of her 24 Grammy Awards, only one was awarded in a major category (Best Music Video in 2017 for ‘Formation’). Meanwhile, she was arguably snubbed for Album of the Year wins in both 2017 (Adele won) and 2015 (Beck won). Now though, the Grammys are hoping to #ChangeMusic and acknowledge the contributions of Black artists to the industry. 

What should this look like? Are award wins all it will take? Is a change for the future enough to fix wrongs of the past? Maybe awards aren’t even that important - is cultural impact what really matters?

#ChangeMusic Roadmap aims to redress racism in music industry – 17/12/2020 

• The cultural impact of Bla(c)k artists can’t be measured through awards
• Awards are a necessary first step to acknowledging Bla(c)k talent in the music industry
• Radios stations should make more of an effort to diversify their sets, particularly when local BIPOC talent in Australia is at an all-time high (think Thelma Plum, Sampa the Great etc.)

Be sure to check out our Ultimate Guide to Oral Presentations for more advice on how to write your speech, presentation tips and more. Or, if you really want to dive in further to make sure you absolutely nail your Oral, then you'll definitely want to check out our How To Write A Killer Oral Presentation ebook - it explores essay structure, the written explanation and even has sample A+ essays so that you can learn from past students who have succeeded in VCE!!

1. What’s the Difference Between Year 9 English and Year 7/8 (Junior years)? 2. What Are You Expected To Cover in Year 9? 3. Assessments and Exams 4. How To Prepare for the Assessments and Exams

Did you know that when you finish high school and you decide to apply for a part time job, you’re expected to recite every single essay you’ve ever written word for word? 

Alright, you got me, I’m kidding!

You may be wondering why is the subject English mandatory? What’s the point of it? When am I ever going to apply the skills I’ll learn in English in real life?

Yes, math, science and even humanities subjects may have more apparent skill transfer to careers like medicine, politics and engineering, but the soft skills that many employers are after these days (such as strong communication skills and confident presentation skills) will develop as you continue with your English studies. And yes, if you plan on being a business owner, these skills are all the more important!

Of course, post-high school won’t involve writing essays and responding to essay topics but they help you build your critical thinking, creativity and understanding intentions (why people do what they do).

These skills will be extremely valuable to you regardless of the path you choose to pursue in life.

Let’s get straight into the nitty gritty of things then...

1. What’s the Difference Between Year 9 English and Year 7/8?

Achievement standards in the Victorian Curriculum from Years 7-9 build upon each other, and the skills learnt during the junior years will be expanded on in Year 9.

In Year 7 , students will be introduced to different text structures (novels, opinion pieces, editorials, speeches, etc.) and focus primarily on the audience, purpose and context of using these text structures. 

You would have had the opportunity to: 

• Explain ideas and issues explored in your texts (e.g. happiness, relationships, conflict, etc.)
• Begin looking at the implied meaning of evidence in your texts (this means forming your own interpretation of what you think the author is trying to say through characterising certain characters the way they are, or through the use of certain symbols, quotes, etc.)

The writing standard predominantly draws from: 

• A mixture of your own personal knowledge and experiences 
• Researched sources, such as news articles, reviews, etc.
• Your own analysis of the assigned texts (usually linking your analysis to a prompt)

Building on the grammatical and foundational writing skills taught in primary school, Year 7 students will need to apply them when writing and editing their work.

Year 8 English develops the students' critical thinking a bit more. You would have been expected to: 

• Interpret assigned texts, ' questioning the reliability of sources of ideas and information ' (know that some texts you will come across may be biased and only expose one side of the argument)
• Make judgments about the effectiveness of language choices used by creators 
• Understand how specific and selective choices of language are used by creators for different effects and purposes (be able to explain your reasoning as to how the conventions of language features used by an author enhance their point of view)

Year 9 English takes the previous two years’ worth of skills even further. This year you will be expected to: 

• Analyse the ways in which different ' text structures can be manipulated for effect '
• Evaluate and integrate ideas from your assigned texts to create your own interpretations
• Realise the importance of planning before writing as well as the need for the drafting process in order to produce A+ level work (an introduction to writing will be provided)
• Be exposed to a wider range of forms of text compared to the junior years which are mainly novels and films 
• Extend your lists of vocabulary and techniques

2. What Are You Expected To Cover in Year 9?

One of the most important skills needed in English is being able to write an analytical essay. This entails presenting an argument about your prompt based on your assigned texts. To do this well, you will need to discuss characters, literary features, structure, themes and big ideas .

The point of the analytical essay is for you to demonstrate your ability to analyse the evidence you choose to incorporate into your essay while linking it back to the idea you’re exploring in the body paragraph. One way to approach this is to provide your own interpretation of evidence. 

This will be elaborated on with examples below.

Structure is also just as important as the content when writing an English essay. Most of the time, particularly in Year 9, your teacher will provide you with a specific structure to follow. This tends to include:

• An introduction (100 words)
• 3x body paragraphs (200 words each)
• A conclusion (50-100 words)

The amount of detail you include in each of your paragraphs will increase over the years. Once you reach Year 12, your essay will sit roughly around the 1000 words mark. For now, try to aim to write around 800 words. Just remember that quality always supersedes quantity . Ensure that the 800 words you write have relevance and are not just word vomit on a page.

The Introduction

Think of the introduction as a to-do list. You can always refer back to it to remind yourself of the points you need to cover and it will keep you on track so you don’t sway from the prompt in your essay. Your introduction sets the scene for the reader. All you have to do is introduce your overall stance (contention) and your three main points (arguments) you want to unpack in the essay. In some cases, teachers would also prefer for you to add in an introduction to the text(s) you’re studying and provide some background information or an overview of the text’s social or historical context. 

The Body Paragraph

The most important components of your essay are the body paragraphs. That is where the bulk of your marks will come from - your analysis! Different schools have different acronyms they may follow for their body paragraphs, but the most common one is TEEL. 

• ‍ T opic Sentence
• E xplanation

As you move up into Year 10, 11 and 12, many schools will extend the acronym to TEEEEEL , meaning that you will be expected to expand on the level and depth of your analysis.

Let’s break up TEEL a bit more…

‘T’ - Topic Sentence

Your topic sentence should support your stance (contention). Your contention should answer the prompt or topic, and your arguments (which form the basis for your topic sentences) should provide a reason for your stance . Because of this, your topic sentence should directly answer the prompt. 

Examples of topic sentences include:

• 'Orwell indicates that for goals to be achieved, teamwork and cooperation among everyone involved will be necessary.' - taken from a Text Response Essay based on George Orwell’s Animal Farm
• The author portrays kindness and understanding as key factors that contribute to successful relationships.

‘E’ - Evidence

Most of the time, the evidence you embed into your body paragraphs will be in the form of quotes from the text . High scoring responses will also analyse evidence such as camera angles (film) or narrative conventions (novels).

Embedding quotes doesn’t always come easy to every student. Preferably, the quote you embed into your analysis will be no more than 10 words and no less than 2 words. 

Rules to keep in mind when you incorporate a quote into your writing:

• Avoid using a quote to form the whole sentence. 
• Don’t begin a sentence with a quote
• Single word quotes should rarely be used. They should only appear in your analysis if you’re exploring a unique, big idea that is conveyed by that one word.
• Use square brackets ‘[  ]’ if you want to change up the quote

It would be helpful to embed the quote into context first as this will help when you’re explaining its relevance to the idea you’re exploring in the body paragraph. 

For Example:

Parallels can be drawn to the ways in which the pigs in the farm have the role of organisers 'naturally [fall] upon' them. Here, the pigs are portrayed as 'the cleverest of the animals', suggesting that they are the leaders who make the decisions on behalf of everyone…

- taken from a Text Response Essay based on George Orwell’s Animal Farm

‘E’ - Explanation

Listing all the quotes you can memorise from the text is not going to get you the marks. You need to analyse the quotes you embed and share your interpretation of the meaning they add to the idea you’re exploring. 

Similar to math, where you need to show all the steps to prove that you know how to get the right answer, in English, the ‘explanation’ section is your opportunity to do just that. You need to explain your thought process regarding how you have reached this conclusion or interpretation. 

Can you pinpoint the differences between the low-scoring response and the high-scoring response below?

Low-Scoring Example:

Big Brother’s lack of compassion is evident through its elimination of personal relationships between the Party members. A marriage is always refused 'if the couple concerned gave the impression of being physically attracted to one another'. This means that the institution of marriage has been manipulated to only serve Big Brother.

- taken from LSG’s How To Write A Killer Text Response study guide

High-Scoring Example:

The distortion of family relationships highlights the cruelty of Big Brother’s institution. Children are taught from an early age to be ‘spies’ for Big Brother. The children symbolise the eyes of Big Brother, as they are always watching members for 'any sign of betrayal to the Party'. Ironically, although Winston believes that 'another year, two years, and they (the children) will be watching (the mother) night and day for signs of unorthodox', it is shown soon after that the father, Parsons, is denounced for 'thoughtcrime'. *** Through this condemnation of their own father, the children also symbolise the destruction of family relationships in return for their loyalty to Big Brother. This unnerving vision of a complete disposal of relationships depicts how brutal a totalitarian society can be for its members in that the very fundamentals of human connection, such as love and family, are corrupted .***

- taken from LSG’s How To Write A Killer Text Response study guide*

***The ‘explanation’/analysis is located between the asterisks.

The linking sentence is the last sentence of your body paragraph and it should always ‘link’ back to the main idea you have explored (topic sentence) as well as the prompt. Avoid merely rewording your topic sentence, and a hint to do this well is to refer to the creator’s intent .

• 'Ultimately, the loss and alteration of meaning within marriage and sex demonstrates how brutal a dystopian society can be for individuals, and as Orwell forewarns, can be the destruction of humanity itself.' - taken from LSG’s How To Write A Killer Text Response study guide
• 'Orwell cautions his readers to be wary of societies such as the Big Brother regime by portraying the cruelty of the Party’s actions.' - taken from LSG’s How To Write A Killer Text Response study guide

Check out our video, ' What do year 9s learn in English? ' for a more in depth look at what's expected of you this year!

3. Year 9 Assessments and Exams

In Year 9, this is where you will gain exposure to an array of forms of texts, ranging from creative responses, speeches, analytical essays, film, poetry and persuasive pieces.

Throughout the year, you will study a range of different texts (the ones mentioned above) and the activities and assessment tasks you will receive will be based on these texts. 

Generally, by the end of Year 9, you will have completed: 

• A creative response,
• A persuasive essay (formatted as an opinion piece, editorial, or letter to the editor),
• An oral presentation about a particular issue,
• A film analysis , and/or 
• An analytical essay based on a play, novel or poems

Throughout the year, you may receive different types of classwork, depending on your teacher. These may include:

• Performances
• Group presentations
• Comprehension questions
• Practise essays/paragraphs
• And so much more!

4. How To Prepare for the Assessments and Exams in Year 9?

Practise, practise, practise! 

One of our most common sayings at LSG is 'study smarter, not harder'. This means knowing where your weaknesses lie and doing what you must to improve upon them. Don’t stick to your comfort zone too much - allow yourself to do the unfamiliar enough times to make it familiar. This will also help you build confidence within yourself when you see the progress you make.

Here are a couple of tips for you to help you prepare for any upcoming assessments and exams like an A+ student:

Reading more than your assigned texts can help you improve your spelling, vocabulary and expression when writing! The more you read, the more knowledge you will gain about fluency and structure. I would recommend reading widely. This means not confining your reading to just purely manga, but also newspaper articles, novels, non-fiction texts, etc.

If you want to become an expert on the text you’re studying and stand out from the rest of your classmates when you get to essay writing, read more about your text. This can include reading up on the background of the author who wrote the text, investigating the social, historical and cultural context of the text. Study guides, interviews, reviews and sample high scoring essays around the text are also very helpful resources!

Drafting and Essay Feedback 

Drafting and getting essay feedback is an important cycle to come back to for the remainder of your high school career.

Going back to what I have just said, practise is key to success in English. English is often deemed to be one of the most confusing subjects because many students claim it to be subjective and will often complain that they have no idea what they’re doing. Generally, this isn’t a good sign. We understand that it can be difficult to know whether you’re on the right track or not, but it’s important we don’t just sit there and wonder the whole time. We must also seek feedback from our teachers or tutors about ways we can improve our work. 

Upon receiving feedback from our teachers or tutors, we can’t just stop there. We must also incorporate this feedback into our re-draft or finalised copy of the work. Any questions or confusion must be addressed during this stage so you know exactly what to do next time.

At LSG, we have high-quality tutors who have received the marks you’re after and can walk you through your high school English journey. 

What will we offer you?

• Regular English advice and support (whether that is homework help, essay feedback or if you just want to go the extra mile and get ahead with your English studies)
• A specialised LSG Signature Program that can cater to your goals and help you develop the knowledge and get all the consistent writing practise you need
• Guidance as we work through the necessary writing skills and strategies that will get you the A+ you desire
• Access to exclusive LSG resources that will save you time creating your own notes (planning and writing templates, sample high-scoring essays and so much more!)

If you want more information on why you should pick us, check out our tutoring page . Otherwise, click here to express your interest today!

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

Introduction

Call it the greatest American novel or ultimate story of unrequited romance— The Great Gatsby is undoubtedly a stunning snapshot of one of the most American decades that America has ever seen. The 1920s saw significant economic growth after WWI, and what’s more American than material excess, wealth, and prosperity? The stock market was going off, businesses were booming, and people were having a great time.

Well, not everybody—and on the flipside, what’s more American than socio-economic inequality or the ever-quixotic American Dream?

In this blog, we’ll go through the novel in this context, examine some of its key themes, and also have a think about the critiques it raises about American society. We’ll also go through an essay prompt that ties some of these things together.

Life in the Roaring Twenties

This snapshot from the 2013 film adaptation actually tells us a lot about the 1920s. On the one hand, social and cultural norms were shifting—men no longer sported beards, and women were dressing more androgynously and provocatively. On the other hand, the modern, American economy was emerging—people began buying costly consumer goods (like cars, appliances, telephones etc.) using credit rather than cash. This meant that average American families were able to get these things for the first time, while more prosperous families were able to live in extreme excess.

In Fitzgerald’s novel, the Buchanans are one such family. Tom and his wife Daisy have belonged to the 1% for generations, and the 1920s saw them cement their wealth and status. At the same time, the booming economy meant that others (like the narrator Nick) were relocating to cities in pursuit of wealth, and (like Gatsby) making significant financial inroads themselves. 

The Great Gatsby traces how the differences between these characters can be destructive even if they’re all wealthy. Add a drop of Gatsby’s unrequited love for Daisy, and you have a story that ultimately examines how far people go for romance, and what money simply can’t buy. 

The answer to that isn’t so obvious though. Yes, money can’t buy love, but it also can’t buy a lot of other things associated with the lifestyle and the values of established wealth. We’ll get into some of this now.

Wealth and class

Fitzgerald explores tensions between three socio-economic classes—the establishment, the ‘nouveau riche’ and the working class.

Tom and Daisy belong to the ‘old money’ establishment, where wealth is generational and inherited . This means they were born into already wealthy families, which affects their upbringing and ultimately defines them, from the way they speak (Tom’s “paternal contempt” and Daisy’s voice, “full of money”) to their major life decisions (including marriage, symbolised through the “string of pearls” he buys for her—which, fun fact, is estimated to be worth millions of dollars today). It also affects their values, as we’ll see in the following section.  For now, consider this image of their home (and those ponies on the left, which they also own), described as follows:

“The lawn started at the beach and ran toward the front door for [400 metres], jumping over sun-dials and brick walls and burning gardens—finally when it reached the house drifting up the side in bright vines as though from the momentum of its run.”

Nick Carraway also comes from a similar (though not as extravagant) background—his family had been rich by Midwestern standards for “three generations” before he came to New York.

Conversely, Gatsby belongs to the ‘ nouveau riche ’, or new money. Unlike the Buchanans, Gatsby was born into a poor family, only coming to wealth in the 1920s boom. Specifically, he inherited money from Dan Cody after running away from home at 17.

Although they are all rich, there are significant cultural differences between old and new money. Old money have their own culture of feigned politeness which Gatsby doesn’t quite get. When Tom and the Sloanes invite Nick and Gatsby to supper in chapter six, Gatsby naively accepts, to which Tom would respond behind his back, “Doesn’t he know [Mrs. Sloane] doesn’t want him?” Even though Gatsby is financially their equal, his newfound wealth can’t buy his way into their (nasty, horrible) lifestyle.

Finally, this is contrasted with the working class, particularly George and Myrtle Wilson who we meet in chapter two. They live in a grey “valley of ashes”, the detritus of a prosperous society whose wealth is limited to the 1%. Fitzgerald even calls it a “solemn dumping ground”, suggesting that life is precarious and difficult here. Consider what separates George—“blond, spiritless… and faintly handsome”—from Tom (hint: $$).

Myrtle is described differently, however—she is a “faintly stout” woman with “perceptible vitality”. This may be less of a description of her and more of a commentary on Tom’s sexuality, and what attracts him to her such that he cheats on Daisy with her. Still, Myrtle’s relative poverty is evident in her expressions of desire throughout their meeting—“I want to get one of those dogs,” she says, and Tom just hands her the money.

Ultimately, looking at the novel through the lens of class, we see a society where upward social mobility and making a living for yourself is possible, just not for everybody. Even when you get rich, it doesn’t guarantee that you’ll suddenly, seamlessly integrate into the lives of old money. 

Morality and values

Added to this story of social stratification is a moral dimension, where Fitzgerald can be a little more critical. 

Firstly, old money is portrayed as shallow . Daisy’s marriage to Tom and the Sloanes’ insincerity are elements of this, but another good example is Gatsby’s party guests. Many aren’t actually invited—they invite themselves, and “they came and went without having met Gatsby at all.” Their vacuous relationship to Gatsby is exposed when he dies, and they completely abandon him. Klipspringer, “the boarder”, basically lived in Gatsby’s house, and even then he still wouldn’t come to the funeral, only calling up to get a “pair of shoes” back. 

The rich are also depicted as cruel and inconsiderate, insulated from repercussions by their wealth. Nick’s description of Tom’s “cruel body” is repeatedly realised, as he breaks Myrtle’s nose in chapter two and condescends Gatsby with “magnanimous scorn” in chapter seven. After Myrtle dies, Nick spots the Buchanans “conspiring” and describes them as “smash[ing] up things and creatures and then retreat[ing] back into their money or their vast carelessness”—he sees them as fundamentally selfish.

Gatsby is portrayed more sympathetically though, which may come from his humble upbringing and his desire to be liked. This is probably the key question of the novel—is he a hero, or a villain? The moral of the story, or a warning? Consumed by love, or corrupted by wealth?

I’m going to leave most of those for the next section, but I’ll finish here with one last snippet: Lucille, a guest at his parties, tears her dress and Gatsby immediately sends her a “new evening gown”. Weird flex, but at least he’s being selfless…

That said, a major part of Gatsby’s character is his dishonesty, which complicates his moral identity. 

For starters, he fabricates a new identity and deals in shady business just to reignite his five-year-old romance with Daisy. We see this through the emergence of Meyer Wolfsheim, with whom he has unclear business “gonnegtions”, and the resultant wealth he now enjoys. 

In chapter three, Owl Eyes describes Gatsby as a “regular Belasco”, comparing him to a film director who was well-known for the realism of his sets. This is a really lucid analysis of Gatsby, who is in many ways just like a film director constructing a whole fantasy world.

It’s also unclear if he loves Daisy for who she is, or just the idea of Daisy and the wealth she represents. Indeed, he doesn’t seem to treat her as a person, but more like something that he can pursue (like wealth). This is a good read, so I won’t really get into it here—just consider how much things have changed since Gatsby first met Daisy (like her marriage and her children), and how Gatsby ignores the way her life has changed in favour of his still, stationary memory of who she used to be.

Love, desire and hope

All of this makes it tricky to distil what the novel’s message actually is. 

Is it that Gatsby is a good person, especially cast against the corrupt old money?  

This analysis isn’t wrong, and it actually works well with a lot of textual evidence. Where Nick resents the Buchanans, he feels sympathy for Gatsby. He explicitly says, “they’re a rotten crowd…you’re worth the whole damn bunch put together.” Maybe love was an honourable goal compared to money, which ostensibly makes you “cruel” and “careless”. 

I wouldn’t say he was cruel, but this reading is complicated by how he can be careless, choosing not to care about Daisy’s agency, and letting his desires overtake these considerations. 

Is it that Gatsby and his desire for Daisy were corrupted by wealth despite his good intentions? 

There’s also evidence to suggest wealth corrupts—Nick describes it as “foul dust” that “preyed” on Gatsby, eroding his good character and leaving behind someone who resembles the vacuous elite. Although love might’ve been an honourable goal, it got diluted by money. 

Gatsby’s paradigm for understanding the world becomes driven by materialism, and he objectifies Daisy. He starts trying to buy something that he originally didn’t need to buy—Daisy’s love. She certainly didn’t fall in love with this man who owned a mansion and a closet full of “beautiful shirts.” Thus, Gatsby is a sympathetic product of a system that was always stacked against him (a poor boy from North Dakota). Capitalism, right?

Is it that capitalist America provides nothing for people to pursue except for wealth, and therefore little reason for people to feel hope?

Past the basics: structural economic tension and the doomed American Dream

Now we want to start thinking beyond the characters (e.g. if Gatsby is a good person or not) and also factor in their social, historical, political and economic context (e.g. if he was doomed to begin with by a society driven by money). This subheading does sound a bit much, but we’ll break it down here. 

A key part of this novel is the American Dream, the idea that America is a land of freedom and equal opportunity, that anyone can ‘make it’ if they truly try. Value is placed on upward social mobility (moving up from a working-class background) and economic prosperity (making $$), which defined much of the Roaring 20s…

…for some. 

For many others, there was significant tension between these lofty values and their lived reality of life on the ground. As much as society around them was prospering, they just couldn’t get a piece of the pie, and this is what makes it structural—as hard as George Wilson might work, he just can’t get himself out of the Valley of Ashes and into wealth. Indeed, you can’t achieve the Dream without cheating (as Gatsby did). 

So, there’s this tension, this irreconcilable gap between economic goals and actual means. Through this lens, the tragedy of The Great Gatsby multiplies. It’s no longer just about someone who can’t buy love with money—it’s about how nobody’s dreams are really attainable. Not everyone can get money, and money can only get you so far. Everyone is stuck, and the American Dream is basically just a myth. 

Thus, the novel could be interpreted as a takedown of capitalist America, which convinced people like Gatsby that the answer to everything was money, and he bolted after the “green light” allure of cold, hard cash only to find out that it wasn’t enough, that it wasn’t the answer in the end.  (.

Consider what kind of message that sends to people like the Wilsons—if money can’t actually buy happiness, what good is it really to chase it? And remember that Gatsby had to cheat to get rich in the first place. 

Is [the novel’s message] that capitalist America provides nothing for people to pursue except for wealth, and therefore little reason for people to feel hope?

You tell me.

Prompt: what does Fitzgerald suggest about social stratification in the 1920s?

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

Let’s try applying this to a prompt. I’ll italicise the key points that have been brought up throughout this post. 

Firstly, social stratification clearly divided society along economic lines . This could be paragraph one, exploring how class separated the Buchanans and Wilsons of the world, and how their lifestyles were so completely different even though they all lived in the prosperity of the Roaring 20s . George Wilson was “worn-out” from work, but he still couldn’t generate upward social mobility for his family, stuck in the Valley of Ashes. Conversely, Tom Buchanan is born into a rich family with his beach-facing mansion and polo ponies . Colour is an important symbol here—the Valley is grey, while East Egg is filled with colour (a green light here, a “blue coupe” there…).

The next paragraph might look at the cultural dimension , exploring how you just can’t buy a way of life. This might involve analysing Gatsby’s wealth as deluding him into thinking he can “repeat the past” by buying into the life(style) of old money . This is where Fitzgerald disillusions us about the American Dream —he presents a reality where it isn’t possible for anyone to ‘make it’, where the Buchanans still treat you with scorn even if you’re just as wealthy. Gatsby’s dishonesty is ultimately a shallow one—try as he might, he just cannot fit in and win Daisy back.

Finally, we should consider the moral dimension —even though the wealthier socioeconomic classes enjoyed more lavish, luxurious lifestyles, Fitzgerald also argued that they were the most morally bankrupt. Money corrupted the wealthy to the point where they simply did not care about the lives of the poor, as seen in the Buchanans’ response to Myrtle’s death. Even Gatsby had to compromise his integrity and deal in shady business in order to get rich—he isn’t perfect either. Social stratification may look ostentatious and shiny on the outside, but the rich are actually portrayed as shallow and corrupt. 

A good essay on this novel will typically combine some of these dimensions and build a multilayered analysis. Stratification, love, wealth, morality—all of these big ideas can be broken down in terms of social, economic, cultural circumstances, so make sure to consider all angles when you write. 

Have a go at these prompts!

1. Nick is biased in his assessment of Gatsby—both of them are no better than the corrupt, wealthy Buchanans. Do you agree?

2. In The Great Gatsby , money is a stronger motivating factor than love. Do you agree?

3. Daisy Buchanan is more innocent than guilty—explore this statement with reference to at least 2 other characters. 

4. What does Fitzgerald say about happiness in The Great Gatsby ?

5. Is money the true antagonist of The Great Gatsby ?

6. The women of The Great Gatsby are all victims of a patriarchal society. To what extent do you agree? (Hint: are they all equally victimised?)

Challenge: According to Fitzgerald, what really lays underneath the façade of the Roaring 20s? Make reference to at least 2 symbols in The Great Gatsby . (Hint: façade = “an outward appearance that conceals a less pleasant reality” – think about things like colours, clothes, buildings etc.)

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Cartoon Analysis: structure, tense & examples

cartoons you have probably come across them in a newspaper or magazine. That they appear in so many different mediums not only indicates how popular they are, but is also an indication of their importance social function . Here you can find out what this is and how you can work it out in a cartoon analysis.

Before you familiarize yourself with the individual requirements of a cartoon analysis, it is good to know what exactly a cartoon is:

A cartoon («caricature») is one drawing whose aim is societal, political or social conditions on humorous way too Leave a Comment or to criticize .

As you can see from the definition, a cartoon fulfills a certain function, namely criticism exercise and thus stimulate readers to think. Working out this point of criticism is the main task of cartoon analysis.

Did you know that cartoons have been used to critique social events for centuries? The first cartoon appeared on June 9, 1754 in the Pennsylvania Gazette, published by American writer and politician Benjamin Franklin. The cartoon showed a snake dissected into several pieces. Each piece had the name of an American colony on it and the caption «Join, or Die». The cartoon was thus an allusion to uniting the individual colonies.

Writing cartoon analysis tense

Before you get more involved with the structure of a cartoon analysis, you should be clear about the tenses used. The forms you use when writing a cartoon analysis aren’t always the same throughout. Basically, however, you can remember that you actions which take place in the cartoon, write in the present progressive, which could look something like this:

The man on the left is holding a sign in his hands while standing on a crowded platform at a train station.

As you can see, the actions depicted in the cartoon are written in the present progressive. However, if you describe what exactly is where in the cartoon, you use the simple present, i.e. the simple present tense.

Are you not sure anymore how the «present progressive» is formed or when the «simple present» is used? Then click into the explanations of the same name.

Now that you are familiar with the tenses used, you can delve deeper into building a cartoon analysis. This usually consists of four different parts: one introduction ( introduction ) one description ( description ) one analysis ( analysis ) and a final one valuation ( evaluation ).

Cartoon Analysis – Introduction

Like most English texts you will work on in class, a cartoon analysis begins with a introduction so one introduction . In this part you will answer the following questions:

• Who drew the cartoon? ( cartoonist )
• What’s the title ( title ) of the cartoon?
• In which medium ( publication ) was it published? (e.g. in a newspaper or magazine)
• What is the date ( dates ) of publication?
• About what content ( contents ) or about which topic ( topic ) fine?

Formulation aids and example for an introduction

At the beginning of your analysis, you can summarize the above information in a sentence that can follow this pattern:

The cartoon «» by , published on in , illustrates .

If you add the brackets, your introductory sentence could look like this:

The cartoon «Party Animals 2020» by Dave Granlund, published on December 31, 2020 on the website «Political Cartoons», illustrates the current state of American politics.

Once your readers have informed you about the most important aspects of the cartoon, you can move on to the next part of your analysis.

Cartoon Analysis – description

In the second part of the cartoon analysis, you now describe for your readers what exactly can be seen in the cartoon. In doing so, you are referring more precisely to those shown persons and the situation in which they are located or which actions that they run.

You do best with the description systematic before. It makes sense to describe the cartoon from right to left or from top to bottom, for example. In addition, at this point in your cartoon analysis, you also address whether the cartoon text includes and if so, how exactly it is.

If your cartoon includes text, be sure to check its exact shape enter. There are three different types here:

• speech bubbles ( speech bubbles ) clarify what a particular person is saying
• inscriptions ( inscription/label ) often stand on things to characterize them
• Captions ( captions ) often describe the depicted situation

Note that in this part you really only describe , which can be seen in the cartoon. For example, if there are two people in the caricature who are portraying politicians, you really only describe the people themselves. So you would write There are two women. On the other hand, you would only interpret the fact that these are two female politicians in the analysis.

Formulation aids and example for the description

To describe the cartoon as precisely as possible, you can use the following formulations:

• There is a caption underneath/above the cartoon which says «…»
• The text in the speech bubble is spoken by…
• There is a speech bubble which says «…»
• In the foreground/background of the cartoon, there is…
• On the right/left side, we can see…
• In the upper/lower right/left-hand corner, there is…
• In the middle/at the center of the cartoon, there is…

Specifically, it could look like this:

On the left side of the cartoon, we can see a donkey in a suit. There is a speech bubble above it saying «We aren’t the party animals we used to be…». In the center of the cartoon, between the donkey and the elephant, there is a bottle labeled «2020 politics». Next to it, on the right-hand side, there is an elephant, also dressed in a suit. There is a speech bubble indicating that the elephant says, «For once we agree on something!».

As you can see here, the cartoon in the example systematic described from left to right ( on the left side , in the center , on the right-hand side ). This makes it easier for your readers to understand the description. Also remember that everyone lyrics from the speech bubbles or headings in quotation marks have to stand.

Cartoon Analysis – structure

Now that you’ve familiarized your readers with exactly what’s in the cartoon, you’ll begin analysis . Here you focus on working out which ones expression who wanted to meet the artist with the comic. So it’s about the societal, social or political message that the caricature is intended to convey.

In order to work out the main statement or the criticism of the cartoon, you can use the following key questions as a guide:

• Which person is shown? Is it a well-known personality or not?
• How is the person portrayed?
• What is criticized?
• How is the criticism made clear?

To answer these questions, you should also refer to the stylistic device ( stylisitc devices ) used in the cartoon. An overview that lists the most common stylistic devices and their meaning can help you:

Sytlistic Device meaning allegory (allegories)

• abstract concept is replaced by a tangible image (e.g. state as a ship)

labeling ( labeling )

• People or objects are given a label or a characteristic designation to clarify their properties

Size ( size)

• large person: seems powerful and scary
• small person: seems powerless and intimidated

lightness and darkness ( lightness and darkness )

• bright display: seems carefree, hopeful and positive
• dark representation: indicate fear, uncertainty and catastrophe

hyperbole/exaggeration ( hyperbole/exaggeration )

• individual/characteristic features of a person/object are exaggerated (e.g. « He is older than the hills . « )

metaphor ( metaphor )

• Comparison to a person/an issue is illustrated graphically
• Characteristics that animals are said to have (e.g. donkey = stupid) are transferred to humans
• Idioms can be represented graphically (e.g. person with a board in front of their head)

stereotyping ( stereotyping )

• simplified representation of a person based on prejudice

symbol ( symbol )

• clarify the presentation of complex ideas/concepts (e.g. dove of liberty as a symbol for peace)

If you would like to get an overview of the stylistic means, then the explanation «English stylistic means» will help you.

Formulation aids and example for the analysis

• The … symbolizes/is a symbol for…
• The … is a metaphor and represents/stands for/illustrates…
• The labels are meant to represent….
• The depiction of … is a hyperbole/exaggeration which illustrates…

In relation to an example, this could look like this in your analysis:

The donkey and the elephant are symbols for the two main political parties in the USA. The donkey represents the Democratic Party, whereas the elephant stands for the Republican Party. This is also illustrated by the labels «DEMS» and «GOP» attached respectively to their suits. The bottle of alcohol between them is a metaphor representing the challenging political landscape the parties had to face during the year 2020. With the COVID- pandemic and the presidential elections, 2020 was a year of upheaval; the author thus suggests that alcohol is needed to cope with everything that has happened.

In this example, the assumption that the two animals represent the political parties is underlined by the respective labels. In addition, it is not enough just to name stylistic means; You also need to explain exactly what they mean: Here, the metaphor of the alcohol bottle is first mentioned and then what it stands for is explained.

Cartoon Analysis – Rating

In the fourth and last part of your cartoon analysis evaluate you the cartoon At this point, you are specifically addressing whether you see the cartoon and the criticism it conveys as convincing watch (or not) and why.

You also evaluate whether the stylistic devices used are appropriate and underline the criticism appropriately. So overall, you rate how effectively the cartoon is like its message really makes readers think.

Formulation aids and example for the evaluation

To reflect your assessment of the cartoon and make it clear whether you like the message of the cartoonist convinced you, these formulations will help you:

• In my opinion, the cartoon is convincing/effective because…
• Personally, I do not think that the cartoonist is convincing because…
• Due to…, I doubt whether readers will understand the cartoonist’s message.
• As far as I am concerned, the cartoon sends a strong message because…

Here, too, you can use an example to illustrate how the evaluation of the…

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• How to write a literary analysis essay | A step-by-step guide

How to Write a Literary Analysis Essay | A Step-by-Step Guide

Published on January 30, 2020 by Jack Caulfield . Revised on August 14, 2023.

Literary analysis means closely studying a text, interpreting its meanings, and exploring why the author made certain choices. It can be applied to novels, short stories, plays, poems, or any other form of literary writing.

A literary analysis essay is not a rhetorical analysis , nor is it just a summary of the plot or a book review. Instead, it is a type of argumentative essay where you need to analyze elements such as the language, perspective, and structure of the text, and explain how the author uses literary devices to create effects and convey ideas.

Before beginning a literary analysis essay, it’s essential to carefully read the text and c ome up with a thesis statement to keep your essay focused. As you write, follow the standard structure of an academic essay :

• An introduction that tells the reader what your essay will focus on.
• A main body, divided into paragraphs , that builds an argument using evidence from the text.
• A conclusion that clearly states the main point that you have shown with your analysis.

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Table of contents

Step 1: reading the text and identifying literary devices, step 2: coming up with a thesis, step 3: writing a title and introduction, step 4: writing the body of the essay, step 5: writing a conclusion, other interesting articles.

The first step is to carefully read the text(s) and take initial notes. As you read, pay attention to the things that are most intriguing, surprising, or even confusing in the writing—these are things you can dig into in your analysis.

Your goal in literary analysis is not simply to explain the events described in the text, but to analyze the writing itself and discuss how the text works on a deeper level. Primarily, you’re looking out for literary devices —textual elements that writers use to convey meaning and create effects. If you’re comparing and contrasting multiple texts, you can also look for connections between different texts.

To get started with your analysis, there are several key areas that you can focus on. As you analyze each aspect of the text, try to think about how they all relate to each other. You can use highlights or notes to keep track of important passages and quotes.

Language choices

Consider what style of language the author uses. Are the sentences short and simple or more complex and poetic?

What word choices stand out as interesting or unusual? Are words used figuratively to mean something other than their literal definition? Figurative language includes things like metaphor (e.g. “her eyes were oceans”) and simile (e.g. “her eyes were like oceans”).

Also keep an eye out for imagery in the text—recurring images that create a certain atmosphere or symbolize something important. Remember that language is used in literary texts to say more than it means on the surface.

Narrative voice

Ask yourself:

• Who is telling the story?
• How are they telling it?

Is it a first-person narrator (“I”) who is personally involved in the story, or a third-person narrator who tells us about the characters from a distance?

Consider the narrator’s perspective . Is the narrator omniscient (where they know everything about all the characters and events), or do they only have partial knowledge? Are they an unreliable narrator who we are not supposed to take at face value? Authors often hint that their narrator might be giving us a distorted or dishonest version of events.

The tone of the text is also worth considering. Is the story intended to be comic, tragic, or something else? Are usually serious topics treated as funny, or vice versa ? Is the story realistic or fantastical (or somewhere in between)?

Consider how the text is structured, and how the structure relates to the story being told.

• Novels are often divided into chapters and parts.
• Poems are divided into lines, stanzas, and sometime cantos.
• Plays are divided into scenes and acts.

Think about why the author chose to divide the different parts of the text in the way they did.

There are also less formal structural elements to take into account. Does the story unfold in chronological order, or does it jump back and forth in time? Does it begin in medias res —in the middle of the action? Does the plot advance towards a clearly defined climax?

With poetry, consider how the rhyme and meter shape your understanding of the text and your impression of the tone. Try reading the poem aloud to get a sense of this.

In a play, you might consider how relationships between characters are built up through different scenes, and how the setting relates to the action. Watch out for  dramatic irony , where the audience knows some detail that the characters don’t, creating a double meaning in their words, thoughts, or actions.

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See an example

Your thesis in a literary analysis essay is the point you want to make about the text. It’s the core argument that gives your essay direction and prevents it from just being a collection of random observations about a text.

If you’re given a prompt for your essay, your thesis must answer or relate to the prompt. For example:

Essay question example

Is Franz Kafka’s “Before the Law” a religious parable?

Your thesis statement should be an answer to this question—not a simple yes or no, but a statement of why this is or isn’t the case:

Thesis statement example

Franz Kafka’s “Before the Law” is not a religious parable, but a story about bureaucratic alienation.

Sometimes you’ll be given freedom to choose your own topic; in this case, you’ll have to come up with an original thesis. Consider what stood out to you in the text; ask yourself questions about the elements that interested you, and consider how you might answer them.

Your thesis should be something arguable—that is, something that you think is true about the text, but which is not a simple matter of fact. It must be complex enough to develop through evidence and arguments across the course of your essay.

Say you’re analyzing the novel Frankenstein . You could start by asking yourself:

Your initial answer might be a surface-level description:

The character Frankenstein is portrayed negatively in Mary Shelley’s Frankenstein .

However, this statement is too simple to be an interesting thesis. After reading the text and analyzing its narrative voice and structure, you can develop the answer into a more nuanced and arguable thesis statement:

Mary Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as.

Remember that you can revise your thesis statement throughout the writing process , so it doesn’t need to be perfectly formulated at this stage. The aim is to keep you focused as you analyze the text.

Finding textual evidence

To support your thesis statement, your essay will build an argument using textual evidence —specific parts of the text that demonstrate your point. This evidence is quoted and analyzed throughout your essay to explain your argument to the reader.

It can be useful to comb through the text in search of relevant quotations before you start writing. You might not end up using everything you find, and you may have to return to the text for more evidence as you write, but collecting textual evidence from the beginning will help you to structure your arguments and assess whether they’re convincing.

To start your literary analysis paper, you’ll need two things: a good title, and an introduction.

Your title should clearly indicate what your analysis will focus on. It usually contains the name of the author and text(s) you’re analyzing. Keep it as concise and engaging as possible.

A common approach to the title is to use a relevant quote from the text, followed by a colon and then the rest of your title.

If you struggle to come up with a good title at first, don’t worry—this will be easier once you’ve begun writing the essay and have a better sense of your arguments.

“Fearful symmetry” : The violence of creation in William Blake’s “The Tyger”

The introduction

The essay introduction provides a quick overview of where your argument is going. It should include your thesis statement and a summary of the essay’s structure.

A typical structure for an introduction is to begin with a general statement about the text and author, using this to lead into your thesis statement. You might refer to a commonly held idea about the text and show how your thesis will contradict it, or zoom in on a particular device you intend to focus on.

Then you can end with a brief indication of what’s coming up in the main body of the essay. This is called signposting. It will be more elaborate in longer essays, but in a short five-paragraph essay structure, it shouldn’t be more than one sentence.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, protagonist Victor Frankenstein is a stable representation of the callous ambition of modern science throughout the novel. This essay, however, argues that far from providing a stable image of the character, Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as. This essay begins by exploring the positive portrayal of Frankenstein in the first volume, then moves on to the creature’s perception of him, and finally discusses the third volume’s narrative shift toward viewing Frankenstein as the creature views him.

Some students prefer to write the introduction later in the process, and it’s not a bad idea. After all, you’ll have a clearer idea of the overall shape of your arguments once you’ve begun writing them!

If you do write the introduction first, you should still return to it later to make sure it lines up with what you ended up writing, and edit as necessary.

The body of your essay is everything between the introduction and conclusion. It contains your arguments and the textual evidence that supports them.

Paragraph structure

A typical structure for a high school literary analysis essay consists of five paragraphs : the three paragraphs of the body, plus the introduction and conclusion.

Each paragraph in the main body should focus on one topic. In the five-paragraph model, try to divide your argument into three main areas of analysis, all linked to your thesis. Don’t try to include everything you can think of to say about the text—only analysis that drives your argument.

In longer essays, the same principle applies on a broader scale. For example, you might have two or three sections in your main body, each with multiple paragraphs. Within these sections, you still want to begin new paragraphs at logical moments—a turn in the argument or the introduction of a new idea.

Robert’s first encounter with Gil-Martin suggests something of his sinister power. Robert feels “a sort of invisible power that drew me towards him.” He identifies the moment of their meeting as “the beginning of a series of adventures which has puzzled myself, and will puzzle the world when I am no more in it” (p. 89). Gil-Martin’s “invisible power” seems to be at work even at this distance from the moment described; before continuing the story, Robert feels compelled to anticipate at length what readers will make of his narrative after his approaching death. With this interjection, Hogg emphasizes the fatal influence Gil-Martin exercises from his first appearance.

Topic sentences

To keep your points focused, it’s important to use a topic sentence at the beginning of each paragraph.

A good topic sentence allows a reader to see at a glance what the paragraph is about. It can introduce a new line of argument and connect or contrast it with the previous paragraph. Transition words like “however” or “moreover” are useful for creating smooth transitions:

… The story’s focus, therefore, is not upon the divine revelation that may be waiting beyond the door, but upon the mundane process of aging undergone by the man as he waits.

Nevertheless, the “radiance” that appears to stream from the door is typically treated as religious symbolism.

This topic sentence signals that the paragraph will address the question of religious symbolism, while the linking word “nevertheless” points out a contrast with the previous paragraph’s conclusion.

Using textual evidence

A key part of literary analysis is backing up your arguments with relevant evidence from the text. This involves introducing quotes from the text and explaining their significance to your point.

It’s important to contextualize quotes and explain why you’re using them; they should be properly introduced and analyzed, not treated as self-explanatory:

It isn’t always necessary to use a quote. Quoting is useful when you’re discussing the author’s language, but sometimes you’ll have to refer to plot points or structural elements that can’t be captured in a short quote.

In these cases, it’s more appropriate to paraphrase or summarize parts of the text—that is, to describe the relevant part in your own words:

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The conclusion of your analysis shouldn’t introduce any new quotations or arguments. Instead, it’s about wrapping up the essay. Here, you summarize your key points and try to emphasize their significance to the reader.

A good way to approach this is to briefly summarize your key arguments, and then stress the conclusion they’ve led you to, highlighting the new perspective your thesis provides on the text as a whole:

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy

College essays

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• Write a College Essay
• Write a Diversity Essay
• College Essay Format & Structure
• Comparing and Contrasting in an Essay

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By tracing the depiction of Frankenstein through the novel’s three volumes, I have demonstrated how the narrative structure shifts our perception of the character. While the Frankenstein of the first volume is depicted as having innocent intentions, the second and third volumes—first in the creature’s accusatory voice, and then in his own voice—increasingly undermine him, causing him to appear alternately ridiculous and vindictive. Far from the one-dimensional villain he is often taken to be, the character of Frankenstein is compelling because of the dynamic narrative frame in which he is placed. In this frame, Frankenstein’s narrative self-presentation responds to the images of him we see from others’ perspectives. This conclusion sheds new light on the novel, foregrounding Shelley’s unique layering of narrative perspectives and its importance for the depiction of character.

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Caulfield, J. (2023, August 14). How to Write a Literary Analysis Essay | A Step-by-Step Guide. Scribbr. Retrieved July 10, 2024, from https://www.scribbr.com/academic-essay/literary-analysis/

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IBDP English - Visual Text Analysis (Paper 1)

Paper 1 in English appears challenging and nerve-wracking for students. It is without a doubt one of the most difficult papers for IBDP students. You have no idea what the questions are being asked. That is, after all, the challenge of this paper. The IB evaluates your ability to analyse a visual text and to write an essay based on your findings.

How to write an essay?

It's a thorough breakdown of the visual text. The students must make inferences, analyse the picture, and interpret it. They should present their findings in the form of an essay.

What are the types of questions?

For IB English Literature SL and HL and for IB English Language and Literature SL and HL , visual text can come from a broad variety of sources, including magazines, editorials, instruction manuals, cartoon strips, advertisements, social campaigns and more.

How to write an effective Commentary?

Several teachers have various methods for analysing a visual text. By far we find COST most comprehensive. It consists of content, composition, context, style and theme.

Content : In this case, write down your thoughts in a blank sheet or column. What do you think you see? Make sure it is exactly what you see, not your interpretation of the text. Example: If it is a comic strip or page of an iTunes etc.

Composition : Take note of how the content is presented and organized in the visual text. You should only focus on the compositional elements at first, and then interpret their meanings later. You should also comment on the structure of the visual text.

Context - Now, take notes on where the visual text should go in terms of timeline, socioeconomic setting, artist/creator, purpose etc. Be careful not to miss any aspect.

Style - Is there a particular style to the image? To what extent does the text's style add to the context? Is the style sarcastic, comedic, conflictive etc.

Theme - What effect does the text have on you? What is the message conveyed by the text? How does the overall presentation of the text reinforce or change your perspective on the subject? At this point, you formulate your interpretation of the text's context, which you defend as a defensible, valid statement or opinion.

The cartoonist Waterson uses 4 panels in this comic strip to tell the story. This type of comic strip would usually appear in newspapers and its purpose to entertain and provide a break whilst reading through more serious matters. This particular comic strip introduces the two characters in the first panel. This establishing shot sets the scene as being in a school environment and immediately introduces the idea of hierarchy as the teacher is larger than the protagonist, Calvin, and takes up more of the space in the panel.

Waterson begins by creating a clear contrast between the two characters: Calvin and his teacher. We can immediately sense the authority and power dynamic in panel 1 as the teacher occupies more space than Calvin and is looking down at him. This initial expectation that the teacher is in charge is undermined by Calvin’s assertive response to her question, “You have a question Calvin?” Humour is created here because the reader does not expect the question Calvin subsequently asks. This is due to the fact that the question is not only irrelevant to whichever lesson he is engaged in, but also because his question could be perceived as impolite in the face of an older authority figure. In addition, the fact that Calvin is clearly very young, evidenced by his size and short spiky hair, further increases the humour as he has now unexpectedly taken charge of the conversation, in addition, his question is far too sophisticated for a child of his age and the language used is extremely formal. Furthermore, the tone created by the phrase ‘what assurance do I have’, is quite demanding and definitely not in keeping with our expectations of a student teacher interaction. By using adult diction, coming from a child. Waterson skillfully creates an imbalance in the relationship and disrupts our expectations as readers.

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Cartoon analysis

In einer cartoon analysis  in Englisch (Karikaturanalyse) verbindest du eine Bildbeschreibung mit einer Interpretation. Wie das am besten geht, verraten wir dir in diesem Beitrag. 

Du möchtest schnell und unkompliziert alles zur cartoon analysis erfahren? Dann schau dir jetzt unser Video an.

Was ist ein Cartoon?

Wie schreibt man eine cartoon analysis – aufbau , cartoon analysis – nützliche vokabeln und formulierungshilfen  .

„Cartoon“ ist die englische Bezeichnung für eine Karikatur . Karikaturen findest du häufig in Zeitungen und Magazinen. Das Ziel von Cartoons ist es, Ereignisse oder Zustände in Politik und Gesellschaft humorvoll, aber kritisch zu kommentieren.

Cartoons sind also nicht einfach nur lustige Zeichnungen. Im Gegenteil: Der Karikaturist drückt damit immer seine  Meinung  oder Haltung zu einem Thema aus.

In Cartoons, die einen Text enthalten, ist diese Meinung oft leicht zu erkennen. In einer speech bubble (Sprechblase), einer inscription (Aufschrift) oder einer caption (Bildunterschrift) kann der cartoonist – der Zeichner – kritische  Kommentare  oder Anspielungen einfügen. 

Eine cartoon analysis hilft dir dabei, die versteckte Meinung eines Künstlers zu erkennen. Das Ziel deiner cartoon analysis ist es deshalb, einen Cartoon nicht nur zu beschreiben, sondern ihn  zu interpretieren und abschließend zu bewerten .

Und so gehst du dabei vor: 

• Cartoon description – Beschreibung
• Cartoon analysis – Analyse 
• Cartoon evaluation – Bewertung 

Tipp: In der Oberstufe musst du möglicherweise leicht von dieser Struktur abweichen. Dort wird häufig verlangt, dass Beschreibung und Analyse direkt miteinander verbunden werden.  

Description – Beschreibung

Falls nicht anders vorgegeben, beschäftigst du dich im ersten Teil deiner cartoon analysis mit der description , also der Beschreibung. 

Du beginnst mit einem Einleitungssatz , in dem du Folgendes beantwortest:

• Does the cartoon have a title ? – Hat die Karikatur einen Titel?
• Who is the artist/cartoonist? – Wer ist der Künstler/Karikaturist?
• When was the cartoon published? And where ?  – Wann wurde die Karikatur veröffentlicht? Und wo?
• What do you see at first sight? – Was erkennst du auf den ersten Blick?

Daraus ergibt sich folgendes Muster: The cartoon “[ title ]” by [ artist ] was published in/on [ newspaper/website ] on [ date ] and shows [ content ].

Keine Sorge, nicht immer lassen sich alle Fragen beantworten.

Danach beschreibst du den Cartoon, die Situation und die dargestellten Personen ganz genau. Wenn du es richtig machst, kann sich der Leser deiner cartoon analysis die Karikatur gut vorstellen. Damit dir das gelingt, beantworte folgende Fragen: 

• What situation is depicted? – Welche Situation wird dargestellt?
• What are the main objects and people ? – Was sind die Hauptelemente und -personen?
• Does the cartoon include text ? If so, what information does it give? – Beinhaltet die Karikatur einen Text? Wenn ja, welche Informationen enthält er?
• What is happening in the foreground/background ? – Was passiert im Vorder-/Hintergrund?

Die description bereitet dir noch Probleme? Dann hilft dir dieses Video zur Bildbeschreibung in Englisch sicher weiter!

Das Ergebnis könnte dann so aussehen: 

Cartoon analysis – description :   The cartoon focuses on a man giving a speech. The man, who seems to be a politician, is standing behind a podium and speaking into two microphones. Next to his head are several empty speech bubbles that are turning into bursting bubbles (Seifenblasen). In the upper right corner of the cartoon, you can see two bubbles bursting. 

Tipp: Verwende für die Bildbeschreibung die Zeitformen der Gegenwart. Das Simple Present verwendest du für allgemeine Beschreibungen. Zum Beispiel sagst du damit, wo sich etwas im Cartoon befindet: In the center, you can see  a man. Das Present Progressive verwendest du für Handlungen, die im Cartoon zu sehen sind: The man  is giving a speech.

Analysis – Analyse/Interpretation

Im zweiten Teil deiner cartoon analysis beschäftigst du dich   mit der eigentlichen  a nalysis , der Cartoon Analyse. Darin untersuchst du die message der Karikatur. Du erklärst also, was der Karikaturist mit seinem Cartoon aussagen möchte.

Überlege dir dafür:

• What situation or issue does the cartoon allude to? – Auf welches Ereignis oder Problem spielt der Cartoon an?
• Who is portrayed? – Wer wird dargestellt?
• What does the artist criticise and how does he do so? – Was kritisiert der Künstler und wie tut er das?

Das könnte am Ende so aussehen:  

Cartoon analysis – example :   By turning the speech bubbles into bursting bubbles, the cartoonist alludes to the phrase “empty words” (leere Worte). The cartoon thereby satirises politician’s habit of saying things without really meaning them.

Stylistic Devices – Stilmittel Englisch 

Bei der letzten Frage helfen dir folgende Stilmittel in Englisch, oder stylistic devices , die häufig in Cartoons zu finden sind: 

Folgende Merkmale sind ebenfalls häufig in Cartoons zu finden und lassen sich leicht deuten: 

Evaluation – Bewertung  

Zuletzt folgt die evaluation . Darin bewertest du die Karikatur auf Basis deiner Analyse. 

Du hältst also fest, ob die Botschaft und die Stilmittel des Cartoons deiner Meinung nach überzeugend sind. Deine Einschätzung begründest du, indem du den Effekt der Karikatur auf den Betrachter beschreibst. 

• Is the cartoon convincing ? Why (not)? – Ist die Karikatur überzeugend? Warum (nicht)?
• Are the stylistic devices fitting and effective? – Sind die Stilmittel passend und wirkungsvoll?
• What effect does the cartoon have? – Welche Wirkung erzeugt die Karikatur?

So könnte das Ganze schließlich aussehen:  

Cartoon analysis – evaluation : The cartoon is effective because the  metaphor  of the bursting bubbles makes viewers aware of politicians‘ tendency to make empty promises. Thereby , it encourages people never to take politicians‘ words for granted, but to put them under scrutiny (prüfender Blick).

Hier findest du zum Beispiel eine ausformulierte Analyse zum  American Dream.

Hier findest du nützliche phrases , also Phrasen und Formulierungen, die dir bei der description , analysis und evaluation des Cartoons helfen: 

How to describe a cartoon : 

How to analyse a cartoon : 

How to evaluate a cartoon : 

Du willst wissen, wie eine vollständige cartoon analysis aussieht? Dann schau dir schnell unser Beispiel-Video dazu an!  

Bildquelle: nuvolanevicata / Shutterstock.com

Beliebte Inhalte aus dem Bereich Textarten Englisch

• Cartoon analysis example Dauer: 03:41
• Speech analysis Dauer: 04:29
• Englisch Brief schreiben Dauer: 04:08

Weitere Inhalte: Textarten Englisch

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• Essay Editor

How to Write About Yourself: Basic Tips & Examples

Writing about yourself isn't always easy, but it is definitely an important skill to have. You might need to do this for a school application, a job, or just to understand yourself better. When you think about how to start an essay about yourself, it's good to consider what makes you special. What has happened in your life that's important to you? What do you care about? These questions can help you find the main parts of your story to share.

Why Writing About Yourself Matters

Writing about who you are is more than just something you do for yourself. It's a skill that many people think is important. When you can explain what makes you unique, you might come up with new ideas that can help in different areas of life.

When you're looking for a job, hiring people often want to know how well you can talk about yourself. Schools also use personal essays to learn more about students than just their grades. The National Association for College Admission Counseling (NACAC) found that 56% of schools think essays are important when deciding which students to accept.

Also, writing about yourself can help you grow as a person. Some psychologists use this kind of writing to help people understand themselves better and feel less stressed. When you write down your thoughts and experiences, you can look at them more closely and learn from them.

How to Start and Structure an Essay About Yourself

When thinking about how to start an essay about yourself, it's good to have a plan for organizing your ideas. Usually, an essay about yourself should have an introduction, body paragraphs, and a suitable conclusion.

• Introduction: Start with something interesting to get the reader's attention. You could ask a question that makes people think, share a surprising fact about yourself, or tell a short story that shows what you're like.
• Body paragraphs: Talk about different things about you, what you've done, or what you want to do. Each paragraph should focus on one main idea and give examples from your life.
• Conclusion: Sum up the main points you wrote about and leave the reader with something to remember. You could talk about what you want to do in the future or explain how your experiences have made you who you are.

Remember, the most important thing when writing about yourself is to be truthful and real. Your essay should sound like you wrote it, not someone else.

Helpful Tips for Writing About Yourself

Here are some good ideas to make your writing about yourself more real and interesting.

• Be yourself: It's most important to tell your story honestly.
• Use clear examples: Instead of just saying, "I work hard," talk about a time when you did work hard.
• Show how you've changed: Talk about how things you've done have helped you grow.
• Be selective: Choose things to write about yourself that fit who will read it and why you're writing.
• Keep things even: It's good to talk about what you're good at and also mention things you're trying to improve.
• Use active voice: This makes your writing more interesting to read.
• Check your work: Mistakes can make people ignore what you're saying.

How to write a paragraph about yourself? Here's an idea: focus on one main thing in each paragraph. For example:

"I started caring about nature after a school trip to a big forest. Seeing trees being cut down made me feel sad. When I got home, I started a program at school to recycle more. We made 30% less trash in the first year. This taught me that one person can help with big problems."

This paragraph discusses something that happened, what the person did about it, and what they learned. It shows what's important to them and what they've done.

Another Way to Present Your Story: Writing a Letter About Yourself

Writing about yourself in a letter can be a nice way to do it. When you're learning how to write a paragraph about yourself like this, think about this example:

Dear Me in the Future, I'm 22 now and thinking about how I became who I am. I grew up in a small town and never thought I'd care so much about how cities are built. But that changed when I helped fix up our town park. I learned how to make things good for people and nature simultaneously. Now I'm studying this in college. I've learned that I can make things better by working hard and not giving up. I hope in the future, I'll be using what I've learned to make cities better places to live. Future me, I hope you're happy with what we've done so far.

This paragraph shows how to write about yourself in a letter. It discusses the past, what's happening now, and hopes for the future. It's clear and thoughtful and shows what kind of person the writer is.

Wrapping Up

Putting your story on paper can be hard, but learning how to do it is good. The tips we discussed can help you write about yourself in a way that really shows who you are. Remember, being real is the most important thing – your experiences and thoughts make your story interesting.

Need a hand with your writing? Aithor might be just what you're looking for. This clever AI tool can whip up essays, academic papers, and creative pieces in no time. It keeps your original ideas intact while polishing your work to shine.

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