Year

8
Unit 2: Evoking
Emotion
How do composers use language in texts to
evoke emotions in their audience?

Complexity of Emotions
 Learning Intention: To develop an understanding of the complexity of emotions.

Success Criteria:
● I am able accurately to identify and define emotions.
● I have reflected on my experiences of emotion and recorded my reflections.
● I have analysed the way Inside Out represents the complexity of emotions.

Emotions and Texts

An emotion is an instinctive or intuitive feeling you get from a variety of experiences. To evoke means
to bring a particular emotion to mind. In order to make people engage with their texts, composers
aim to evoke their audience’s emotions and feelings using a variety of language techniques. This
could be to make their audience feel a particular way about an issue or sympathise with the
experience of a character or persona to enable them to reconsider aspects of themselves and their
world.

Plutchick’s Wheel of Emotions

In 1980, American psychologist Robert
Plutchick identified eight primary
emotions—anger, fear, sadness, disgust,
surprise, anticipation, trust, and joy. He
displayed them in a visual colour wheel
(see below) to represent the relationship
between emotions and assist people in
making sense of their feelings and
emotional states.

Your Turn
Define the eight primary emotions in
your own words -
anger, fear, sadness, disgust, surprise,
anticipation, trust, and joy.

1
Reflecting on Experiences of Emotion
1.What do you think are the three most common emotions people experience? 2. Can you think of
any texts e.g. books, poems, films, tv series graphic novels and/or artwork that can make people
feel these emotions?
3. What emotion do you experience most? Why?
4. Provide an example of the last time you felt that emotion and elaborate on how the example
embodies that emotion.
5. What emotion do you experience least? Why?

Extension
To what extent does Plutchik’s wheel of emotions accurately represent the complexity of emotions
we experience? Write your response in a TEEL paragraph and support with examples.

Inside Out
Inside Out follows the inner workings of the mind of
Riley, a
young girl who adapts to her family's relocation as five
personified emotions administer her thoughts and actions.

View the trailer:

https://youtu.be/iMfhiDnJeE8?si=g1irUfHb_oz3KkeW

1. Identfiy each of the emotions that the different

coloured characters represent.
2. What emotions are evoked within you when watching
the trailer?
3. What is the difference between Riley’s parents' emotions? Consider which colour character is
the more dominant.
4. How effectively does this trailer explore the complexity of emotions?

Extension
Based on the trailer, what do you think could be the purpose of the film? Consider what the
composer might want to help the audience understand or learn.

Creative Task
Develop your own version of the Inside Out film concept.
1. Choose 5 key emotions.
2. Decide how you might represent them. For example, could each emotion be represented by
an animal? A celebrity? A text you have studied?
3. Present your idea to the class.
 2
The Relationship Between Emotions and Feelings
Learning Intention: To understand the relationship between emotions, feelings and texts.

Success Criteria:
● I have read the table of emotions and feelings and written a definition of each
feeling ● I have selected three texts that evoke my allocated emotion.
● I have explained how and why my chosen texts evoke my allocated emotion.

Table of Emotions and Feelings

1. Read the table below to ensure you have a diverse vocabulary to articulate the way texts evoke
emotions. Following this, you are to write a definition of each feeling.
Emotion The feelings associated with the emotion

Anger Annoyed Agitated Bitter Contempt Cynical Exasperated Frustrated

Hostile Impatient Resentful

Fear Anxious Apprehensive Frightened Hesitant Nervous Panic Paralyzed

Scared Terrified Worried

Sadness Despair Anguish Depressed Despondent Disappointed Discouraged

Forlorn Gloomy Grief Heartbroken Hopeless Lonely Longing
Melancholy Sorrow Unhappy Weary

Anticipation Hopeful Encouraged Expectant Optimistic

Trust Acceptance Calm Contentment Fulfillment Peace Serenity Love Affection Empathy
 Joy Amazement Awe Ecstatic Enchanted Enthusiasm Excited Passionate Vibrant 3

Texts and Emotions Task

In groups, find three different texts - these
could be a book, a film, a poem, a
graphic
novel, a poster, an artwork, cartoon
and/or a
play that represent ONE emotion and the
feelings associated with the emotion.
Your
teacher will allocate your group an
emotion.

You are to outline the following and

present
your findings to the class.:
❖ Title of each text
❖ Text type
❖ A brief description of what each
text
is about
❖ An explanation of how and why it
evokes your group’s allocated
emotion and/or the feelings
associated with that emotion.

Extension
Make a specific link to a scene and/or quote from each text to reinforce the way each text evokes the
allocated emotion.

4
The How - Visual Language Techniques
Learning Intention: To be able to identify and explain the effect of visual language techniques

Success Criteria:
● I have completed the technique match table.
● I have completed visual language - effects cloze passage
● I have identified and analysed the effect of visual language in works of art and film posters.

In order to evoke the emotions and feelings of their audience through texts, composers use an arsenal
of language techniques. It is important to understand all aspects of language to effectively explain
how a composer is using language to convey meaning and evoke emotion.

Visual Language

Match the techniques to the definitions in the table

below.
Techniques - direct gaze, juxtaposition, lighting, negative
space, positioning, salient image, symbolism, vector

A line that leads your eye from one part of the image to another
 The feature in a composition that most grabs your attention, whether this is due
to placement, colour, size, or a combination of visual techniques.

Placing visual elements side by side to create contrast or

interaction. An object that represents a theme or an idea.

When the person in the image is looking out at the viewer, establishing a
connection between the subject and the viewer.

The brightness or dimness of the picture, or different parts of the picture.

How objects are placed in the foreground, background, centre, or margins of a

picture. Empty space on the page to create a feeling of vulnerability or loneliness

Definitions from: https://visual-literacy-skills.weebly.com/

5
Visual Language with Examples
 6
Visual Language - Effects
Now that you are familiar with some visual language techniques, complete the cloze passage
elaborating on the effects of these techniques.

BACKGROUND provides a ___________, __________________ and ________________.

COLOURS are used to evoke ____________________. We see them in our everyday lives in
_______________, _____________________ and _____________________. Across cultures,
colours can hold a symbolic meaning. Shades can also alter the meaning of COLOURS.

LIGHTING refers to the quantity of _____________ and how it is cast. _______________ light
suggest a signal of _____________ or something important. ________________ can create a sense
of danger, loss, sadness or uncertainty.

SYMBOLS : A mark or character used as a conventional representation of something. (for example:

a letter, musical note, emoticon…they indicate meaning.

SCALE is the overall dimension of something. How ______________ or ______________. Scale

can help provide importance or power.
SALIENCE refers to the feature in a composition that most grabs your ____________________. It
is what stands out the most. You can achieve ___________________ through the use of size, colour,
focus, distance and shapes.

GAZE refers to the direction of ___________________________. There are _______________

types of gaze. Demand gaze is when a person in the image makes ________________ eye contact
with the reader. We connect with the character. _________________ is when the eye line does not
make direct eye-contact with the reader. We are invited to look with the character and make our own
judgements about what the person is thinking and feeling.

VECTORS are ___________________. Vectors lead your eye from one _________________ to
another. A _________________ can be ___________________ or an ___________________ line. It
can be created by things such as gaze, pointing fingers or extended arms. Vectors draw your eye to
what is ______________________.

READING PATH is the _____________ your eyes take through a _________________ text. The
reading path can be from ________________ to ________________. The reading path can be from
the most salient to the least salient elements.

signifiers, right, setting, attention, visible, written, path, visual, left, lines, pictures, place,
symbolic, time, attention, feelings, signs, movies, brightness, salience, attention, eyeline, vector,
hope, shadows, two, text, small, large, direct, Offer, important, invisible, element, Bright.

7
Analysis of Artwork

Down on His Luck - Frederick McCubbin

1. Describe what is in the background and

foreground
of the image.
2. What do you think the persona in the painting is
thinking about? Consider his body language and
the
title of the painting.
3. Describe the use of colour in the image and why
you
think these colour tones were chosen?
4. What emotion or feeling is the composer trying to
evoke in the audience.
5. How are they using visual language to evoke this
emotion? Compose your response as a TEEL
paragraph.
Extension
Research the history of this painting and discuss why this artwork is considered to be telling a ‘truly
Australian story’. In your response try to delineate what qualities and emotions need to be evoked to make a
story ‘truly Australian’.
Commence your research by visiting the following site:
Frederick McCubbin Down on his luck (1889)

The Storm on the Sea of Galilee by Rembrandt

1. Describe what is happening in the image.
2. Describe the contrast in lighting in the art work. What do
you
think this could mean?
3. Is there a vector line in this image? Where is it and/or
what
could it signify?
4. Describe the body language of the people on the boat
5. How has the composer used visual language to evoke a
feeling of apprehension?

Compare and Contrast

Which artwork evokes emotion and feeling within the audience
more
effectively? Why?
Write a TEEL paragraph and provide at least one example from
each
text in your response.
Extension
Go to the site below and note down three points about the context of
the artwork. How does your understanding of the artwork change now you have an understanding of context?
Discover a magnificent work by Rembrandt – Christ in the Storm on the Sea of Galilee.

8
Analysis of Film Art

Wicked dir. by John M. Chu.

1. Describe the colour symbolism in the poster. Consider

what feelings or thoughts are evoked by pink and
green.
2. How is juxtaposition used effectively in the poster?
3. What is the effect of the vector line being created in
the
poster?
 4. Consider the facial expressions and body language of the
characters. What is the feeling the composer is trying to
evoke in their audience?
5. View the trailer Wicked - Official Trailer .
How effectively does the poster convey the mood and
atmosphere of the film?

District 9 dir. By Neil Blomkamp

1. What is the most salient part of the poster?
2. Why do you think the composer wants to draw the
audience’s attention to this part of the text?
3. How does this poster evoke a mood of hostility? In your
response, you should identify three relevant techniques
and explain why they are effective.
4. View the trailer District 9 - Official Trailer (HD)
How effectively does the poster convey the mood
and
atmosphere of the film?

Creative Task
Reflect on a narrative you have written in the past e.g.
your
Fantasy orientation from Year 7 or your recent Science
Fiction
story. Alternatively, you may choose to design a poster
for one of
the texts you have studied or a text you have enjoyed in
your own
time.
❖ Design a poster for the cover of your story
utilising three
visual language techniques.
❖ Write a 150 word reflection analysing how you
have used
visual language to convey meaning.

9
Analysis of Film Art (Extension)
Nomadland dir. By Chloe Zhao
1. Explain what could be inferred by the hookline
‘surving America in the twenty-first century’.
2. Explain the effect of the composer’s use of colour and
lighting.
3. How has the composer used superimposition and
symbolism in the poster?
4. Analyse how a feeling of melancholy is evoked in the
poster. In your response make reference to three
language techniques and their effect.
5. View the trailer:
NOMADLAND | Official Trailer | Searchlight P…
What do you think the composer’s intent was in
creating this film? Consider the significance of the
title.

The Brutalist dir. By Brady Corbet

1. What is the most salient part of the image?

2. How might the Statue of Liberty be symbolic?
3. What could be the purpose of placing this upside
down? Consider how the connotations of the statue
could be subverted.
4. Do you think this poster evokes feelings of hope or
hopelessness? Explain your answer with reference
to
two visual language techniques.
5. View the trailer The Brutalist | Official Trailer HD |
A24. Review your answer to question 4. Do you still
adhere to your initial impression? Why or why not?
 10
The How - Poetic Language Techniques
Learning Intention: To review and understand the function of poetic language techniques.

Success Criteria:
● I have read and discussed the poetic techniques table.
● I have read and discussed the SMILE method of poem analysis.
● I have researched and presented my own SMILE analysis on several poems.

Poetic Techiques Table

11
 12
Analysing Method - SMILE
13
14
 15
SMILE-ING AT POETRY
Find three different poems and complete a SMILE analysis for
each.

Outline the following and present your findings to the class:

❖ Title of each poem

❖ Type of poem
❖ A brief explanation of a key theme in the poem and
the positive and/or negative emotions it evokes.
Outline any shifts in emotion that might also occur
within the poems.
❖ A completion of the SMILE analysis following the
steps listed in the pages prior.

16

Analysis of Poetry
 Learning Intention: To be able to identify and analyse the way poetic techniques convey meaning
and evoke emotion in poetry.

Success Criteria:
● I have read the poem ‘My Country’ and asked questions to make sure I understand the
vocabulary and what is happening.
● I have responded to all of the questions using evidence from the poem to support my ideas.
● I have explained how language techniques are used to convey meaning and evoke
emotions.

My Country by Dorothea Mackellar (1908)

‘My Country’ is a poem written by Dorothea Mackellar (1885–1968) at the age of 19 about her
love of the Australian landscape. After travelling through Europe extensively with her father during
her teenage years, she started writing the poem in London in 1904 and re-wrote it several times
before her return to Sydney.

The love of field and coppice,

Of green and shaded lanes.
Of ordered woods and gardens
Is running in your veins,
Strong love of grey-blue distance
Brown streams and soft dim skies
I know but cannot share it,
My love is otherwise.

I love a sunburnt country,

A land of sweeping plains,
Of ragged mountain ranges,
Of droughts and flooding rains.
I love her far horizons,
I love her jewel-sea,
Her beauty and her terror -
The wide brown land for me!

A stark white ring-barked forest

All tragic to the moon,
The sapphire-misted mountains,
The hot gold hush of noon.
 17
Green tangle of the brushes,
Where lithe lianas coil,
And orchids deck the tree-tops
And ferns the warm dark soil.

Core of my heart, my country!

Her pitiless blue sky,
When sick at heart, around us,
We see the cattle die -
But then the grey clouds gather,
And we can bless again
The drumming of an army,
The steady, soaking rain.

Core of my heart, my country!

Land of the Rainbow Gold,
For flood and fire and famine,
She pays us back threefold -
Over the thirsty paddocks,
Watch, after many days,
The filmy veil of greenness
That thickens as we gaze.

An opal-hearted country,
A wilful, lavish land -
All you who have not loved her,
You will not understand -
Though earth holds many splendours,
Wherever I may die,
I know to what brown country
My homing thoughts will fly.

Comprehension Questions
1. Which country is the poet describing in the first verse and how does she feel about it?
2. List all the features that the poet admires about the Australian landscape. 3. Comment
on the structure of the poem (rhyme/verses/change in location/repetition). 4. What overall
contrast does the poet provide in verse 2?
5. What negative aspects of Australia are given in verse 4?
 6. Find the metaphor used in verse 4 to describe the rain. What is the effect of this?
7. Find an example of alliteration in verse 5.
8. In what way is Australia personified?

18
9. How does the poet describe the green paddocks in verse 5?
10. What does the last verse suggest about the poet’s feelings for Australia?

Group Discussion

The poem ‘My Country’ is seen to embody all that is special about the Australian landscape.
After reading ‘My Country', discuss with the people in your group whether you think it is
recognisably Australian and why. Share your thoughts with the class

Reflection on Australia
a) How do we visualise Australia?
b) What words do we associate with the Australian landscape?
c) Are there words, phrases or sentiments unique to our land?
d) It has been said that the poet was in love with Australia’s landscape and we see her
connection to the land in her writing. Do you think this holds true for today’s Australians?
Are we tied to the land in the same way that people were a hundred years ago?
e) Do you connect with poetry about the Australian bush? The majority of Australia’s
population lives in cities.
f) Imagine if Dorothea was writing her poem today. Do you think it would be solely about the
country? What aspects of it might be relevant to our modern country?

Creative Task
Dorothea Mackellar wrote this poem at age 19, when she was homesick in England. Choose a place
that is important to you and using your memories compose a poem along similar lines to ‘My
Country.’ Aim for three - five stanas using the same rhyme scheme as Dorothea Mackellar.
 19
Analysis of Poetry
Learning Intention: To be able to identify and analyse the way poetic techniques convey meaning
and evoke emotion in poetry.

Success Criteria:
● I have read the poems ‘Mother Earth’ and ‘Songlines’ and asked questions to make sure
I understand the vocabulary and what is happening.
● I have responded to all of the questions using evidence from the poems to support my
ideas. ● I have explained how language techniques are used to convey meaning and evoke
emotions.

Nola Gregory
Nola Gregory is a descendant of the Gija/Bardi peoples of the East and West Kimberly and has been
writing poetry since 1995. Her passion for poetry writing is what keeps her going. Nola writes poems
that she hopes reach deep down inside the person reading them. Nola is the only Aboriginal person to
have had a poem read in both the Federal and Western Australian State Parliaments.

Mother Earth by Nola Gregory

I belong to this land

It runs through my veins
It’s the earth in my bones
It’s the dry dusty plains

It’s the whispering wind

As she blows through the sand
It’s the sparkling salt water
That trickles through my hands

It’s the feeling I get

When I return to my place
It’s deep down inside me
It’s my Mother Earth space.

I belong to this Country

I’ve walked in her dust
I have weathered her storms
I have learned from her past

20
It is respect for my Mother
It meanders through my mind
It clings to my spirit
To my soul it does bind

It’s that feeling I get

When I walk in this place
It’s deep down inside me
It’s my Mother Earth space

Comprehension
1. Identify and explain the effect of Gregory's use of hyperbole.
2. How has Gregory used personification to reinforce the key message of the poem? 3.
Aboriginal people say that ‘the land owns them’ and not they own the land. How is this
reflected in this poem?
4. What do you think the line ‘I have learned from her past’ means?
5. Write down as many words as you can that describe the emotions this poem evokes. 6.
Analyse how Gregory uses language to evoke a particular emotion. Write your response as a
TEEL paragraph following the scaffold below.
 Topic sentence Your topic sentence should respond directly to the question by identifying
the emotion that is evoked.

Evidence Include one quote from the poem.

Explain Explain how the technique in this quote conveys a message more powerfully.

Evidence Include one quote from the poem

Explain Explain how the technique in this quote conveys a message more powerfully.

Link Summarise how you have answered the question.

21
Songlines by Nola Gregory
Note* The term ‘Songline’ describes the features and directions of travel that were included in a
song that had to be sung and memorised for the traveller to know the route to their destination.
Certain Songlines were referred to as ‘Dreaming Pathways’ because of the tracks forged by Creator
Spirits during the Dreaming. These special Songlines have specific ancestral stories attached to
them.

Come with us on a journey

Through land and sea and time
Follow down our dreaming tracks
Listen carefully, look for signs.

You will feel them in your spirit

As they weave into your soul
Songlines, our Ancestral story
Are alive and strong and bold.

They created for us the rivers

The trees and all their girth
Spreading out our storylines
As they walked upon the earth.

They are for us a legacy

Our connection to our land
They are seen through our existence
As we walk upon ochre and sand.
So listen very carefully now
As you walk upon our land
Let it seep into your spirit
As we take you by the hand.

We’ll lead you to our dreaming

And sing you songs of old
As through dance and art recorded
Our Ancestral story is told.

For 60,000 years it’s been

Our heart, our spirit, our song
Something for us to be proud of

22
It’s our existence, it's where we belong.

We follow in the footsteps

Of our Ancestral beings
We follow along our Songlines
And our journey to our Dreaming.

Analysis
1. Complete your own SMILE analysis of ‘Songlines’.
2. Write three comprehension questions, including a TEEL paragraph question. Swap with a
peer.
3. You are to answer your peer’s questions while your peer answers your questions. 4. Provide
feedback to your peer about the quality and accuracy of their responses to your comprehension
questions.

Research
Visit the site below and note down 5 key points about the role of songlines to indigenous
Australians from the dreamtime to now.
Songlines - Deadly Story.
 23
The How - Figurative and Rhetorical Language
Techniques

Figurative and Rhetorical Technique Table

*Literary Devices can fit into multiple categories and are figurative and rhetorical
techniques can be used by authors of both Prose Fiction and Non-Fiction texts.
FIGURATIVE LANGUAGE ● SIMILES (uses like or as)
● METAPHORS (comparison w/out like or as)
● PERSONIFICATION (human quality to nonhuman thing)
● HYPERBOLE (over exaggeration)
● ANALOGY (comparing two unlike things)
● OXYMORON (pairing of two opposite words:
cold/fire) ● ALLUSION (reference to something
outside the text)
● SYMBOLISM (something stands for/represents something
else) ● ALLEGORY (multiple aspects of the literary work
represent/symbolize larger ideas)
● JUXTAPOSITION (two elements placed beside each other
for dramatic/ironic contrast)
● IMAGERY (descriptive words about SIGHT, SOUND,
TASTE, TOUCH/FEEL, and SMELL)

SOUND DEVICES ● ALLITERATION (repetition of initial consonant sounds in two

or more nearby words: Peter Piper Picked)
● CONSONANCE (repetitive consonant sounds in a sequence
of words: cooks cook cupcakes quickly)
● ASSONANCE (repetition of vowel sound: the nIght skY brIghtens
mY smIle)
● ONOMATOPOEIA (sound words: boom, fizz, pop)

RHETORICAL DEVICES ● ETHOS (APPEAL TO ETHICS; CREDIBLE

CHARACTER) ● PATHOS (APPEAL TO EMOTION)
● LOGOS (APPEAL TO LOGIC, PERSUADE BY REASON)
● RHETORICAL QUESTIONS (a question asked to emphasize a
point; the question might have obvious answer)
● ANAPHORA (the repetition of the beginning of a phrase
to emphasise a point)

24

● PERSON (speaking directly to the audience through use of ‘you

to connect and make a point)
 STRUCTURE/FORM ● FLASHBACK (telling events from the past)
● FORESHADOWING (hints of what is to come)
● POINT OF VIEW (who is telling the story/poem)
○ 1STPERSON (I, We, Me, Our)
○ 2ND PERSON (You the reader)
○ 3RD PERSON OMNISCIENT (All Knowing)
○ 3RD PERSON LIMITED (Limited to 1 character)
● DIALOGUE (conversation)
● ANECDOTES (short stories/examples to support a point)

25
Analysis of Prose Fiction

Learning Intention: To be able to identify and analyse the way figurative language conveys meaning and
evokes emotion in prose fiction texts.

Success Criteria:
● I have read the extract and asked questions to make sure I understand that vocabulary and what is
happening.
● I have responded to all of the questions using evidence from the extract to support my ideas.
 ● I have explained how language techniques are used to convey meaning and evoke emotions.

Note
The extract below is written from the perspective of a young Chinese man (Lai Yue) who has come to
Australia to try and find gold during the gold rush. His sister (Ying) came with him to Australia but has
disguised herself as a boy.

Stone Sky Gold Mountain

(Extract)
By Mirandi Riwoe
Chapter 5

The clouds crouch low, an iron dragon, exhaling waves

of grey vapour.

Lai Yue can almost feel its breath press against his
skin, but there’s no

breeze, no whisper of air, as the heat – cloying,

suffocating – envelops

him. Trickles of sweat form gullies behind his ears, streak down his

neck in tributaries that drench his shirt.

He whittles away at a piece of wood with rhythmic swipes. Its heft fills

his left hand, its splintered edges jagged in his grip. Shavings curl and

fall away with each stroke.

He’s carving a figure of a bird, something like the rosefinch of home. When he’d picked up the

fragment of branch, fallen from someone’s fire, it was already in the sway-shape of a bird, and the

26
timber’s blushed hue matches that of the finch. When it’s finished, he will give it to Ying. The knife

stops mid-scrape as he glances towards their tent. To where Ying lies, unconscious, for the third day

now.
He lifts his eyes, takes in the water, as dark as soybean paste; the patches of rocks he has slipped on

countless times, rolling his ankle, straining his neck. The dull green of the leaves, how they crumple

underfoot. The sandy earth that somehow finds its way into the very seams of his clothing, the

cracks at the corners of his mouth, his eyelashes. Nothing like how he imagined it would be in the

weeks they careened across the sea. Hadn’t they been told that this southern land was a heavenly

refuge? Heavenly. Conjuring up images of trees heavy with ripened peaches, pigs fattened and

content. A land fertile with hope, yielding reefs of gold. Reefs. Layer upon layer of gleaming metal.

All they had to do was get themselves there, they were told, and the riches would come easily.

But this land is barren, hardened, unwilling to surrender its fruit. The heat’s hostility like a bite to the

hand. And the white people. Those ghost people. Just as unwelcoming. He thinks of the beating they

received that night when their pickaxes and metal pan were taken. The sharp taste of blood in his

mouth where his teeth punctured lip. How the stinky curs had gasped with glee, doubled over,

winded with the exertion of it, as they fired shots into the ground, spurts of dirt showering ankles.

Lai Yue’s knife slips, slicing the bird’s wingtip from its body.

‘Is your brother any better?’

Lai Yue looks up at Ah Poy. The doctor is a small, plump man. The pores on his shiny nose are wide,

craterous, and hairs creep from his ear holes like ferns reaching through a crack in the wall. His

stance is lopsided due to the weight of the wooden box he carries by its top handle.

27
‘Yes, yes, I believe he is,’ Lai Yue says, taking to his feet with a grunt. He didn’t ask the doctor to

return. Why is he here? Lai Yue feels the familiar tap-tap of irritation. ‘He seems much cooler today.
Less flushed.’

But was she? Maybe Ying’s lack of colour was a bad thing; maybe her energy was slowing down,

making ready to leave this world.

‘He was in a dangerous state when I saw him two days ago. I would’ve returned sooner except I was

called upriver to a man who was crushed by a wagon.’ The doctor shakes his head.

‘You needn’t have worried about us.’ Even as he smiles, and bows respectfully, Lai Yue’s shoulders

stiffen, his stomach tightens. His thoughts alternate between a desire to retain each skerrick of gold

he owns and a fear that his sister might be in dire trouble. He doesn’t want to hand over any more of

his meagre riches to this charlatan of a man, with his box of powders and leaves. The more gold he

and Ying can collect, the sooner they can return home, repair all the damage. He stares at Ah Poy.

He’s sure there’s an acquisitive gleam in the doctor’s eye, that his free fingers itch for Lai Yue’s

gold. Lai Yue wants to kick the cotton seat of his pants, chase him from his camp site, but a rumble

of unease for Ying gives him pause.

Ah Poy enters their tent. Inside, the air is close; it has a feral, sweet note. Ying lies on her back, eyes

shut, her shadow a silhouette of sweat seeped into the bedding beneath her.

‘The swelling in his feet has not come down. See here? And here?’ Ah Poy says, pointing with his

little finger, its untrimmed nail a good two inches long, as yellow as a piece of elephant ivory. Lai

Yue is forced to look at his sister’s feet. They’re bloated – sallow and stippled in dark smudges like

the skin of a bullfrog. She isn’t better after all. He doesn’t have time for this. He doesn’t have the

money.

‘You must buy your brother as many green vegetables as you can afford. Catch some fish.’ 28

Lai Yue does the calculations in his head. By the time he pays the doctor, buys extra food and herbs

for his sister, their meagre stash will be greatly diminished. They will need to spend more months in
this place. He imagines their ship home is far out to sea, too far to swim to, too far to call back. He

feels a bit sick at the thought of parting with even a flake of gold but, glancing through the open flap

of the tent at his sister, motionless, with cracked lips and sunken stomach, he knows he will have to.

shakes several muddy-coloured coins into the palm of his hand. They have the metallic whiff of

blood. He holds them out to Ah Poy, who picks through them, choosing a tarnished silver coin and

three pennies.

As he left the tent to make his lopsided way to another part of the camp site, the doctor said: ‘You’d

better get your brother to Maytown before the wet season sets in. He’ll never survive in his state,

confined in that damp tent.’ They both looked up at the foreboding sky, laden with dark clouds.

There will be more of those ghost men in town, Lai Yue knows it. Again, he thinks of the beating

they received. The clump of dirt in his hair muddy with blood. ‘They’re not all like that,’ Ah Kee

tells him and Ying almost daily. ‘I have met friendly Englishmen. Really, I have.’ But Lai Yue isn’t

convinced. He stares at Ying. Without her, how would he even understand their jumble of strange

words? His throat tightens at the thought of mixing with them. As always, the embers of dread fuel

his simmering rage.

Comprehension Questions

1. a) Write down one quote that the author has used to describe the Australian landscape. What
technique is used in the quote?
b) How does Lai Yue feel about the Australian landscape?

2. Why do you think Ying has disguised herself as a boy?

29
3. Why doesn’t Lai Yue want to give the doctor any money? In your response, include one
quote from the extract that helps explain your answer.

4. Explain the relationship between the Chinese and English gold miners. Write your response
 as a TEEL paragraph following the scaffold below.
Topic sentence Your topic sentence should respond directly to the question.

Evidence Include one quote from the story.

Explain Explain how the technique in this quote conveys a message more powerfully.

Evidence Include one quote from the story.

Explain Explain how the technique in this quote conveys a message more powerfully.

Link Summarise how you have answered the question.

30
Analysis of Prose Fiction
Learning Intention: To be able to identify and analyse the way figurative language conveys meaning
and evokes emotion in prose fiction texts.

Success Criteria:
● I have read the extract and asked questions to make sure I understand the vocabulary and what
is happening in the extract
● I have responded to all of the questions using evidence from the extract to support my
ideas ● I have explained how language techniques are used to convey meaning and evoke
emotions.

Boy Swallows Universe

(Extract)
By Trent Dalton
Mum says August stopped talking around the time
she ran away from
my dad. August was six years old. She says the
universe stole her
boy’s words when she wasn’t looking, when she was
too caught up in
the stuff she’s going to tell me when I’m older, the
stuff about how
the universe stole her boy and replaced him with the
enigmatic
A-grade alien loop I’ve had to share a double bunk bed with for the
past eight years.

Every now and then some unfortunate kid in August’s class makes
fun of August and his refusal to speak. His reaction is always the
same: he walks up to that month’s particularly foul-mouthed school bully who is dangerously
unaware of August’s hidden streak of psychopathic rage and, blessed by his established inability to
explain his actions, he simply attacks the boy’s unblemished jaw, nose and ribs with one of three
sixteen-punch boxing combinations my mum’s long-time boyfriend, Lyle, has tirelessly taught us
both across endless winter weekends with an old brown leather punching bag in the backyard shed.
Lyle doesn’t believe in much, but he believes in the circumstance-shifting power of a broken nose.

The teachers generally take August’s side because he’s a straight-A student, as dedicated as they
come. When the child psychologists come knocking, Mum rustles up another glowing testimony
from another school teacher about why August’s a dream addition to any class and why the
Queensland education system would benefit from more children just like him, completely mute.

31
Mum says when he was five or six August stared for hours into reflective surfaces. While I was
banging toy trucks and play blocks on the kitchen floor as Mum made carrot cake, he was staring
into an old circular make-up mirror of Mum’s. He would sit for hours around puddles looking down
at his reflection, not in a Narcissus kind of way, but in what Mum thought was an exploratory
fashion, like he was actually searching for something. I would pass by our bedroom doorway and
catch him making faces in the mirror we had on top of an old wood veneer chest of drawers. ‘Found
it yet?’ I asked once when I was nine. He turned from the mirror with a blank face and a kink in the
upper left corner of his top lip that told me there was a world out there beyond our creamcoloured
bedroom walls that I was neither ready for nor needed in. But I kept asking him that question
whenever I saw him staring at himself. ‘Found it yet?’

He always stared at the moon, tracked its path over our house from our bedroom window. He knew
the angles of moonlight. Sometimes, deep into the night, he’d slip out our window, unfurl the hose
and drag it in his pyjamas all the way out to the front gutter where he’d sit for hours, silently filling
the street with water. When he got the angles just right, a giant puddle would fill with the silver
reflection of a full moon. ‘The moon pool,’ I proclaimed grandly one cold night. And August
beamed, wrapped his right arm over my shoulders and nodded his head, the way Mozart might have
nodded his head at the end of Gene Crimmins’s favourite opera, Don Giovanni. He knelt down and
with his right forefinger he wrote three words in perfect cursive across the moon pool.

Boy swallows universe, he wrote.

It was August who taught me about details, how to read a face, how to extract as much information
as possible from the non-verbal, how to mine expression and conversation and story from the data of
every last speechless thing that is right before your eyes, the things that are talking to you without
talking to you. It was August who taught me I didn’t always have to listen. I might just have to look.

Comprehension Questions

1. a) Write down one quote that the author has used to describe how August’s mother feels
about her son. What technique is used in the quote?
b) How does Trent feel about August? Support your answer with a quote.

32
2. Why do the teachers side with August? In your response, include one quote from the extract
that helps explain your answer.

3. What do you think is meant by ‘the universe stole her boy’s words when she wasn’t
looking’?

4. Analyse how the composer uses language to characterise August. Write your response as a
TEEL paragraph following the scaffold below.
Topic sentence Your topic sentence should respond directly to the question.

Evidence Include one quote from the story.

Explain Explain how the technique in this quote conveys a message more powerfully.

Evidence Include one quote from the story.

Explain Explain how the technique in this quote conveys a message more powerfully.

Link Summarise how you have answered the question.

 33
Analysis of Non - Fiction Texts
Learning Intention: To be able to identify and analyse the way language conveys meaning and evokes
emotion in non- fiction texts.

Success Criteria:
● I have read the extract and asked questions to make sure I understand what is happening and the
vocabulary.
● I have responded to all of the questions using evidence from the extract to support my ideas
● I have explained how language techniques are used to convey meaning and evoke emotions.

Note
The extract below is from a memoir (a biography focusing on specific memories and experiences of a
person’s life) in which the author reflects on growing up and becoming herself in an Egyptian Muslim
family. Here she reflects on her early childhood in Alexandria, Egypt shortly before she moved to
south-east Queensland.

Muddy People
(Extract)
By Sara El Sayad
Mama learned early on that her daughter was
different from her son.

Mohamed threw tantrums; Soos stayed quiet if

you gave her something

sweet. In Arabic, a soos, a cavity, is what you

get after eating too much

sugar. My parents gave me the nickname when I

was four. By that time,

I had two gold crowns and twice as many holes

in my teeth.

In my mouth now, one would struggle to find a tooth not stuffed with a

filling. I was never in the habit of maintaining good oral health. We

aren’t brought up that way; we don’t nurture what isn’t healthy. When

our grass isn’t as green as we want, we concrete over it.

Mohamed was difficult from the beginning. Stuck sideways inside my

mother, he didn’t want to come out.

34
‘It’s too much,’ the delivering doctor said in Arabic, throwing his hands in the air. ‘He won’t budge.

I don’t know what to do.’ He left the room to pray and came back smelling like cigarettes. By that

time, Mama was screaming and Mohamed was crowning. ‘By the grace of God,’ said the doctor. My

father was happy his first child was a boy. They named him Mohamed like every other baby boy

born in Alexandria, Egypt, on that day.

When my grandparents came to see him, the nurse brought the wrong baby.

‘That’s not my son,’ said Baba.

His son, of course, was the one with the big nose.

‘It was like a hook,’ Nana tells me, reminiscing about the birth of her first grandchild. She makes a

hook shape with her finger, in case words don’t do justice to the severity.

‘It was big,’ Mama concurs.

‘Huge. So ugly. Like his grandfather’s.’

‘An Arab nose, for sure.’

‘And he was green. All over. Like an alien. Green and a big nose – very unattractive. A truly ugly

child.’

My father describes my birth as ‘no problems’. The biggest hitch, in fact, was Mohamed asking for

squid sandwiches.

‘Soobeyt soobeyt!’ shouted the two-year-old, standing up in the front seat of our Lada Niva. Baba

drove the toddler to the sandwich shop after dropping Mama at the hospital.

I ask Mama about my birth and she describes being knocked out by an anaesthetic, then being

shaken awake by doctors telling her to push, then passing out, then waking up to the smell of squid,
then seeing the contents of her stomach on the floor.

Mohamed never slept through the night as a baby. Soos never woke up. I didn’t even wake during

my first zelzal, earthquake. I was a newborn, the weight of a bottle of milk. My brother was the

weight of a small cow, Mama says. The zelzal struck in the middle of the night. ‘Your father picked

35
you up out of your cot and ran downstairs straightaway,’ says Mama, ‘and he left the big fat

two-year-old to me. Seven flights of stairs. Seven flights of stairs.’

The apartment building we lived in had armed guards out the front, who swung their guns over their

shoulders like school bags for who lived on the top floor: a diplomat. Someone from elsewhere who

was important enough to kill for.

I was not supposed to talk to the guards, but sometimes they would smile at me when I was with my

father. They weren’t always there, which somewhat defeated the purpose. But constantly there, living

in what was likely built as a cloakroom, was the porter and his family. I counted seven the last time I

got a peek inside. He was a friendly old man who treated us like royalty. He greeted my father,

calling him ustaaz, professor. My father was not a professor, but this is what people like the porter

called people like my father. It was clear to me, even then, that the porter would never be a ustaaz.

That title was not made for him.

The porter would stand sentry outside the building when the guards disappeared, sometimes all

night. Night was when people were energised, walking through the streets, kids playing in the park,

dripping ice cream down their hands under the watchful eye of their smoking parents. People stayed

out even later during Ramadan. One year, when we arrived back home late, the porter greeted my

father.

‘Ramadan karim, ya ustaaz,’ he said. His voice was croaky from hours spent in silence. ‘Allahu

akram,’ said my father. The door of the cloakroom was open, and I could hear his family, whispering

to one another. My father thanked the porter for running an errand for him earlier. Baba removed the
gold sparkly watch from his wrist and held it out to the porter. ‘An early Eid gift,’ he said, in Arabic.

The porter had a hard time accepting, but eventually he took it, looking a little wet-eyed. There was a

blotch of ice cream on my father’s shirt, from when he had finished my strawberry cone earlier. I

wanted to tell him, but I was worried it would ruin the moment.

36
By morning, a guard would usually be back at his station, giving the porter a chance to sleep.

Watching them from our seventh-floor balcony, they looked like toy soldiers. I wasn’t scared of

them, even with their guns.

A cardboard box on our balcony housed our pet tortoise, Leafy. One day Leafy escaped his box.

Being slow, he had plenty of time to think. Even so, he walked right off the edge. His shell shattered

when he hit the ground, and the guard who found him threw his body into the bushes of the park

opposite the building. Always watching.

From our balcony we could see the entire park. To a child, it was a grand vista; in actuality, it was a

circle of turf, lined with hedges twice as tall as a toddler. Pavement ran around the circle, then out

diagonally to the corners of the rectangular plot, like the crosshairs of a sniper rifle. But for a long

time, it was the biggest place on earth to me.

Baba has a story about a time he took me there. ‘It was a rainy day, a bad day to go out,’ he says.

‘You were walking behind me, and suddenly you started screaming. Screaming and screaming, like

you had seen a ghost. You had stopped in front of a puddle of water. You were screaming, “Sunny!

Sunny!” And I said, “What do you mean, sunny? It’s not sunny today.” You keep screaming, “Sunny!

Sunny!” And pointing to the water.

‘You were screaming your lungs out. You know, the whole park was looking at us,’ my father says.

‘Finally, I got it. You don’t mean sunny. You meant muddy. You were worried about crossing the

water. You got the words confused. You meant one thing and you said something else. The complete

opposite. Isn’t that funny?’

Wet shoes – that was the problem. I was four, and I was learning how to keep my shoes clean. I had

learned at mosque that cleanliness was next to godliness. You had to be clean when you spoke to

Allah. Even outside the mosque, clean people got respect – people with neat hair, ironed shirts,

pressed trousers and spotless, expensive new shoes. If you didn’t have those things, you did not

belong in the building. You belonged in the cloakroom.

37
Glossary
Match the words to the correct definitions in the table below:
Word Definition

When a baby begins to appear during the process of childbirth.

To think about or describe something in the past.

An extreme level of harshness.

To agree or approve of something

a substance that makes you unable to feel pain used during operations
or procedures in hospital

An official representing a country abroad.

A person employed to carry luggage and other loads, especially in a

railway station, airport, hotel, or market.

A soldier stationed to keep guard or to control access to a place.

The ninth month of the Muslim year, during which strict fasting is observed
from dawn to sunset.

The word 'Eid' means 'feast' or 'festival' and is celebrated by Muslims

worldwide because it marks the end of the month-long dawn-to-dusk fasting
of Ramadan.

A pair of fine wires crossing at right angles at the focus of an optical

instrument or gunsight, for use in positioning, aiming, or measuring.

A Muslim place of worship.

 "Allah" is the Arabic word for God, specifically used in Islam and by
Arab Christians, and is thought to be derived from the contraction of
"al-Ilāh," meaning "the God".

Mosque, crowning, , crosshairs, sentry, diplomat, Ramadan, Eid, reminiscing, anaesthtic,

Allah, porter, severity, concurs

Comprehension Questions

1. a) Write down one quote that the author has used to describe the difference between herself
and her brother. What technique is used in the quote and how is this effective?

38
b) How does Sara El Sayad feel about her childhood in Alexandria, Egypt?

2. Why do you think the porter had a hard time accepting the gift from Sara El Sayad’s father?
Support your answer with a quote from the text.

3. Why was Sara El Sayad worried about the puddle and how might this reinforce an aspect of
Arabic culture? In your response, include one quote from the extract that helps explain your
answer.

4. Explain the way Sara El Sayad has used language to convey the relationship between her
and her family. Consider the emotions and feelings evoked and write your response as a
TEEL paragraph following the scaffold below.
Topic sentence Your topic sentence should respond directly to the question.

Evidence Include one quote from the memoir.

Explain Explain how the technique in this quote conveys a message more powerfully.

Evidence Include one quote from the memoir.

Explain Explain how the technique in this quote conveys a message more powerfully.

Link Summarise how you have answered the question.

Extension
Evaluate how El Sayad has used language and form to craft an evocative voice. Write your response
as a TEEL paragraph following the scaffold below.
 Topic sentence Your topic sentence should respond directly to the question.

Evidence Include one quote from the memoir.

Explain Explain how the technique in this quote conveys a message more powerfully.

Evidence Include one quote from the memoir.

Explain Explain how the technique in this quote conveys a message more powerfully.

Link Summarise how you have answered the question.

39
Analysis of Non - Fiction Texts
Learning Intention: To be able to identify and analyse the way language conveys meaning and
evokes emotion in non- fiction texts.

Success Criteria:
● I have read the extract and asked questions to make sure I understand what is happening and
the vocabulary.
● I have responded to all of the questions using evidence from the extract to support my
ideas ● I have explained how language techniques are used to convey meaning and evoke
emotions.

'The best in the world': a love letter to Australia's public pools Tracing
his conversion from pool refusnik to aquatic evangelist, Benjamin Law asks: is swimming the
Australian version of baptism?
By Benjamin Law Fri 13 Apr 2018

In Australia, you’re expected to just know how to swim. It makes sense: more than four in five
Australians live within easy walking or driving distance of the sea. As writer Anna Funder recently
said of those who call the driest continent
on Earth home: “We cling to the edge of
the continent, and we swim from a very
early age.”

Growing up, I hated swimming – which

was
awful, because I didn’t just grow up in
Australia, I grew up in Queensland: the
sun-saturated state that gifted us Olympic gods
like Kieran Perkins, Susie O’Neill, Grant
Hackett and Stephanie Rice, a state where the
main trade seemed to be sugar, coal and
championship swimmers.

You weren’t just expected to know how to

swim; you were expected to be good at it, too.

My parents were Cantonese migrants from Hong Kong who, in the 1970s, moved to Queensland’s
Sunshine Coast, home to some of the country’s most beautiful beaches. It still strikes me as a slightly

40
baffling decision, given neither of them could swim. Water compelled and terrified them and their
five Australian-born kids.

While other people saw stunning coastlines, we just saw a picturesque way to die. Rips could kill
you, people said. Sharks could kill you. Skin cancer could kill you. Weirdly, it was always white
people who told us these things, the same white people who seemed to keep going to the beach. Were
we missing something? Did they want to die?

A safer option was the public pool. Years of TV safety campaigns had convinced Mum we needed to
know how to swim, because she sure as hell couldn’t save us if we were drowning. Throughout
summer, we’d wail as Mum drove us to the nearest suburban leisure centre for lessons. I suspect we
dreaded those lessons as much as our instructors dreaded teaching us, those hopeless Asian kids
spluttering with anxiety inside the enclosed training pool, those stinking hothouses of chemicals, piss
and wet togs (or cossies, or bathers, or swimmers – depending on your state).

After the nightmare was over, we’d be sedated with a treat – a Redskin (Australians veer towards
racism even with our confectionary), an ice block or a packet of frogs – before falling asleep in the
stuffy Ford Cortina, hair matted to our temples, seat belts twisted into our skin and fingers dusted
orange from the Twisties we stole from each other.

The horror didn’t end there. At school, not only were swimming lessons mandatory, carnivals were
too – annual, school-run swim meets, ostensibly fun but deeply competitive. We even had togs in
school colours that we had to buy from the uniform shop.

During the lessons, I’d watch fit white kids dive in and carve through water with graceful limbs that
seemed custom-built for the job. Meanwhile, in Lane 1 or 6 – where I could still hold onto the wall –
I’d windmill uselessly, my hands banging into the water like saucepans. There was a direct, inverse
correlation between the amount of splashing I made and the distance I travelled.

At swimming carnivals, all the outcasts were bunched together: the ethnic kid with no body fat (me);
pale kids with lots of body fat. We had to swim in an event – any event – so we’d do the novelty race,
paddling together on inflatable rafts, damp with chlorine and shame, as everyone cheered and jeered
us on.

But then, weirdly, I fell in love with swimming. I left home for university, moved to Brisbane and
into a rambling architectural mess of a shared house. Its design was … incorrect. It attracted the heat
in summer, then trapped it.

41
During heatwaves, my flatmates and I would emerge from our rooms having barely slept and looking
boiled. I took refuge from the heat at the Olympic-sized council pool at the bottom of our hill. It
didn’t look like much from the outside, but inside it was pure and clean, with a panoramic view of
the city skyline. I didn’t have proper togs so I swam in black boxer briefs, hoping no one would
notice. After a while, I tried swimming laps.

Alan, the pool manager, took pity on me. “Instead of bashing into the water with your arms like
that,” he said, “stretch out like this and twist your entire torso. Instead of exhaling like that, hum and
you won’t lose your breath so quickly.” It was homework, and I’d always liked homework. Slowly, I
got faster.

By the time I moved to Sydney, I owned proper Speedos, goggles and a kickboard. I signed myself
up for a 1km charity ocean swim. From some angles it seemed as though I had pecs. Who was this
person?

I’ve been helped by the fact Sydney has – hands down – the best lap pools in the world.

Every inner-city public pool is a wonder in

some way. My local, the Prince Alfred
Park
Pool, is an award-winning architectural
miracle built into a hill – like a swimming
oasis for hobbits.

It’s impossible to take a bad photo of North

Sydney Olympic Pool, where the reward for
finishing laps is endless Instagram-ready
photos of the Sydney Harbour Bridge, which
towers above the pool like a CGI
hallucination.

On the other side of the harbour, Andrew “Boy” Charlton Pool is plonked right in the middle of the
botanical gardens, decked out like a resort and boasting so many toned men in Speedos, it feels like
you’re in the video for Kylie Minogue’s Slow.

Even Sydney’s indoor pools – which I usually avoid because of the claustrophobic chlorine pong –
are impressive. Ultimo’s dreamy, wave-walled Ian Thorpe Aquatic Centre (the first Sydney pool I
ever swam in) is a Harry Seidler original, a modernist wave of concrete and steel rising from Darling

42
Harbour. In the Cook + Phillip Park Aquatic and Fitness Centre are giant paintings by the Archibald
winner Wendy Sharpe, making it one of the few places where you can do laps in an art gallery.

For a spiritual experience, it’s all about the ocean baths. On good days, you can swim alongside
schools of fish in Wylie’s Baths in Coogee. There’s a reason people rave about Bondi Icebergs, with
its sauna overlooking the violent churn of the surf below.

Is it too far to say swimming is the

Australian version of baptism? To me, these
places feel sacred; to swim in them veers
towards sacrament. When I get writer’s
block, I swim. When I need space, I swim.
When I need company, I swim. When I’m
depressed, I swim. When I’m happy, I
swim.

Last Christmas, my siblings and I – all

comically terrible swimmers as kids –
laughed at the fact that our eldest sister was now a regular surfer. The remaining four of us now swim
regularly in lap pools.

Those Asian kids at school, so bad at swimming carnivals that they were constantly disqualified?
Well, some of them grew up and now swim kilometres for leisure. It shouldn’t be surprising – we’re
also Australian, after all.

43
Technique Table

Match each technique to the correct quote in the table below:

Technique Quote

…a state where the main trade seemed to be sugar, coal and

championship swimmers.

While other people saw stunning coastlines, we just saw a picturesque way
to die.

You weren’t just expected to know how to swim; you were expected to
be good at it, too.

Did they want to die?.

…my hands banging into the water like saucepans.

 When I get writer’s block, I swim. When I need space, I swim. When I
need company, I swim.

Rhetorical question, anaphora, hyperbole, second person, juxtaposition, simile

Comprehension Questions

1. a) Write down one quote that the author has used to outline why you’re expected to know
how to swim.
b) How did Benjamin Law feel about swimming in his childhood? What technique is used in
the quote and how does this reinforce Law’s feelings about swimming?

2. Describe the emotions evoked in Law’s reference to the swimming carnivals of his youth. In
your response, include one quote, technique and effect from the extract that helps explain
your answer.

3. What do you think is meant by ‘to me, these places feel sacred; to swim in them veers
towards sacrament.’?

44
4. Analyse how Benjamin Law’s feelings towards swimming change over time? Write your
response as a TEEL paragraph following the scaffold below.
Topic sentence Your topic sentence should respond directly to the question.

Evidence Include one quote from the article.

Explain Explain how the technique in this quote conveys a message more powerfully.

Evidence Include one quote from the article.

Explain Explain how the technique in this quote conveys a message more powerfully.

Link Summarise how you have answered the question.

Extension
Compare and contrast how Sara El Sayad and Benjamin Law’s texts explore the way emotions
and/or perspectives can transform over time. Write your response as a TEEL paragraph following the
scaffold below.
Topic sentence Your topic sentence should respond directly to the question.

Evidence Include one quote from the memoir/article.

Explain Explain how the technique in this quote conveys a message more powerfully.

Evidence Include one quote from the memoir/article.

Explain Explain how the technique in this quote conveys a message more powerfully.

Link Summarise how you have answered the question.

45