Form 6 English Essay

Essay writing is the most important skill you need to develop in your HSC year. Success in HSC English will depend on your ability to write convincing, powerful essays that convey your understanding of both the Area of Study and Modules units. It’s understandably daunting to think that so much of your mark revolves around one skill but fortunately, with a bit of direction and structure, a Band 6 essay is achievable.

When marking an essay, teachers and HSC markers want to see that you’ve developed a complex and in-depth understanding of a text (or pair of texts, as the case may be) and in order to show them this, you need to express your ideas clearly. As such, nothing is more important than simplicity and structure!

The first is self-explanatory – if you misuse complex words because you think they’ll make your essay look more intelligent, you’re more likely to lose marks on account of their misuse. If you get a point across using straightforward language you’re guaranteeing that the marker will understand you and you’re more likely to get marks that way. If you are not confident about how to use a new word, it’s best to leave it out and replace with a word you are comfortable with.

Structure is another story altogether. A good essay is a circular (in that the conclusion always links back to the introduction), self-sustaining (in that all arguments put forward will be thoroughly explored in the essay) beast, one that gives the reader everything they need to know. In order to achieve this, you need to structure the following elements.

Introduction

The introduction is the first impression your reader will get, so it’s the most important part of an essay. You need to answer the question asked within the thesis statement then expand on your thesis in the introductory paragraph by introducing the texts, the themes within the texts and their relation to your Area of Study or particular Module. You also need to give an overview of the key techniques you will discuss later.

Example:

Question: How does the comparative study of two texts from different times deepen our understanding of what is constant in human nature?

Introduction (the thesis is bolded):

The comparison of Mary Shelley’s 1818 novel Frankenstein and Ridley Scott’s 1992 film Blade Runner  the Director’s Cut  facilitates the examination of transforming societal values and the human condition. An examination of the transition from early 19th century England when Romanticism was challenging aspects of the dominant Enlightenment discourse founded upon science and rationalism to late 20th century America, a period influenced by Reaganomics and rampant scientific development in cloning and technology, reveals a shift in societal values.

However, both texts explore similar aspects of humanity including humanity’s pursuit of  progress and power, questioning of the human identity and refusal to consider the morality of their actions, albeit in different paradigms. Thus, as texts are a reflection of their context and its values, it is evident that aspects of human nature remain constant irrespective of context.

If you would like more detailed information on how to write introductions, you should look at our essay writing series. Read the first post How to Write a Thesis Statement – a step-by-step guide and we’ll explain why a thesis statement is so important, and walk you through the process of creating them.

 

Body Paragraphs

Each body paragraph must deal with a particular theme or text, and must start with a topic sentence. A topic sentence, similar to a thesis statement, will tell the reader what you plan on discussing. From there, you must justify your statements with evidence. A basic tool you can use is the T.E.E. system – highlight a technique, identify an example and explain the effect – the effect will relate to your topic sentence, which in turn relates to your thesis! The conclusion of a body paragraph must sum up your argument for the paragraph and relate it to the thesis once again.

In terms of what should be in your body paragraphs, you should aim for analysis which is insightful and informed. It is not always easy to form an insightful opinion of a complicated text, so to get started, you will have to do some reading of critical analysis written by experts like academics, reviewers of plays or productions.

Example:

The T.E.E structure in practice has been indicated with the following colours:

Technique
Evidence 
Effect

In Frankenstein, Shelley explores the transgression of the natural order in the Romantic ideal by humanity’s ongoing pursuit for progress and knowledge, a consequence of the Enlightenment Era and the Industrial Revolution. Victor’s overreaching ambition to overcome the natural boundaries of mortality by taking God’s creator role is highlighted in the metaphor “Life and death appeared to me ideal bounds… I should break through“.Victor’s hubristic ambitions criticises aspects of Enlightenment rationalism which attempted to control natural processes, exemplified in Galvani’s experimentation with “animal electricity”.

If you would like to know more about writing topic sentences, you should read our posts on How to Write a Thematic Framework and How to Write a Topic Sentence to see learn how the introduction and topic sentences work together. In addition, our step-by-step guide will walk you through how to write a body paragraph.

 

Conclusion

A conclusion can often be both the easiest and most difficult part of an essay. You must never introduce new arguments or information in a conclusion, nor can you merely restate the introduction. A conclusion must draw on the fundamental idea that you have extracted from the question, and which you have based your entire essay on – in essence, you need something reflective and thought-provoking to leave with the reader.

Example: In the shift from 19th century England to Reaganite America, the foundation of power migrated from scientific knowledge to a greater focus on economics and capitalism. However, despite their differing contexts, both Frankenstein and Blade Runner  suggest that humanity’s pursuit of power and progress has resulted in a continuous foregoing of the moral and ethical concerns of their actions. Thus the comparison of these two texts reveals how these fundamental flaws are ingrained in human nature and that they will paradoxically remain constant even as society and its values inevitably shift.

For more detail on how to write a conclusion, read our step-by-step guide.

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This post is written by NCTE member Kim Zarins. 

[Disclaimer: I don’t have a PhD in composition studies. My PhD is in English with a focus on medieval literature. Besides teaching college literature courses, I write creatively, and my debut young adult novel comes out in September. I am joining the debate on the five-paragraph essay in response to Kathleen Rowlands’ smart “Slay the Monster” journal article, because I think high school and college teachers can work together and set up our students for success—and the five-paragraph essay is setting them up for a really tough time in college. Students don’t find their voices this way and come to college hating how they sound in writing, particularly in the essay form.

As a high-school survivor of this form and now a teacher occasionally receiving it from students trying their best, I have to say I hate this abomination. I hate it so much, I decided to be naughty and condemn the five-paragraph essay in a five-paragraph essay. Here you go. Enjoy. Or not.]

From the dawn of time, or at least the dawn of the modern high school, the five-paragraph essay has been utilized in high school classrooms. Despite this long tradition, the five-paragraph essay is fatally flawed. It cheapens a student’s thesis, essay flow and structure, and voice.

First, the five-paragraph essay constricts an argument beyond usefulness or interest. In principle it reminds one of a three-partitioned dinner plate. The primary virtue of such dinner plates is that they are conveniently discarded after only one use, much like the essays themselves. The secondary virtue is to keep different foods from touching each other, like the three-body paragraphs. However, when eating from a partitioned plate, a diner might have a bite of burger, then a spoonful of baked beans, then back to the burger, and then the macaroni salad. The palate satisfies its complex needs for texture, taste, choice, and proportion. Not so for the consumers of the five-paragraph essay, who must move through Point 1, then Point 2, and then Point 3. No exceptions. It is arbitrary force-feeding to the point of indigestion. After the body paragraphs, and if readers have not already expired, they may read the Conclusion, which is actually a summary of the Introduction. There is no sense of building one’s argument or of proportion.

Second, critical thinking skills and the organization of the essay’s flow are impaired when a form must be plugged and filled with rows of stunted seeds that will never germinate. If we return to the partitioned-plate analogy, foods are separated, but in food, there is a play in blending flavors, pairing them so that the sum is greater than the individual parts. Also, there is typically dessert. Most people like dessert and anticipate it eagerly. In the five-paragraph essay there is no anticipation, only homogeneity, tedium, and death. Each bite is not food for thought but another dose of the same. It is like Miss Trunchbull in the Roald Dahl novel,  forcing the little boy to eat chocolate cake until he bursts—with the exception that no one on this planet would mistake the five-paragraph essay for chocolate cake. I only reference the scene’s reluctant, miserable consumption past all joy or desire.

Third, the five-paragraph form flattens a writer’s voice more than a bully’s fist flattens an otherwise perky, loveable face. Even the most gifted writer cannot sound witty in a five-paragraph essay, which makes one wonder why experts assign novice writers this task. High school students suffer to learn this form, only to be sternly reprimanded by college professors who insist that writers actually say something. Confidence is shattered, and students can’t articulate a position, having only the training of the five-paragraph essay dulling their critical reasoning skills. Moreover, unlike Midas whose touch turns everything to gold, everything the five-paragraph essay touches turns to lead. A five-paragraph essay is like a string of beads with no differentiation, such as a factory, rather than an individual, might produce.  No matter how wondrous the material, the writer of a five-paragraph essay will sound reductive, dry, and unimaginative. Reading over their own work, these writers will wonder why they ever bothered with the written word to begin with, when they sound so inhuman. A human’s voice is not slotted into bins of seven to eleven sentences apiece. A human voice meanders—but meaning guides the meandering. Voice leans and wends and backtracks. It does not scoop blobs of foodstuff in endless rows. If Oliver Twist were confronted with such blobs of written porridge, he would not ask for more.

In conclusion, the five-paragraph essay is an effective way to remove all color and joy from this earth. It would be better to eat a flavorless dinner from a partitioned plate than to read or write a five-paragraph essay. It would be better to cut one’s toenails, because at least the repetitive task of clipping toenails results in feet more comfortably suited to sneakers, allowing for greater movement in this world. The five-paragraph essay, by contrast, cuts all mirth and merit and motion from ideas until there is nothing to stand upon at all, leaving reader and writer alike flat on their faces. Such an essay form is the very three-partitioned tombstone of human reason and imagination.

Kim Zarins is a medievalist and an Associate Professor of English at the California State University at Sacramento. Her debut young adult novel, Sometimes We Tell the Truth (Simon & Schuster/Simon Pulse, pub date Sept 6), retells Chaucer’s Canterbury Tales with modern American teens traveling to Washington D.C. Find her on Twitter @KimZarins.

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