Happy Halloween: Tag Someone

Looking for something Halloweeny and fun as we nudge our way through the final term of the year? Today's post features a Stage 4 or 5-aimed story (depending on ability) that would work as part of a wider Horror-themed unit that aims to teach generic conventions, or even just as a stand-alone lesson focused on creative writing.  

Before looking at the story, students will need to be primed on short story structure. If they're not familiar, this could involve brainstorming or copying some notes that covers the following:

Structuring a Short Story

There are three main parts to every short story: a beginning, a middle, and an ending. These parts are referred to by these terms:

1. Orientation = the beginning. This should contain enough information for the reader to know what is going on, who the characters are, what the setting is, etc.
2. Complication = the middle. This presents a problem to be solved, increases tension, and requires a response.
3. Resolution = the ending. This is where the complication gets resolved.

Sometimes a story can move these three parts around; some stories begin with the complication and then have a flashback to an orientation. The resolution can also take one of the four main following forms:

• Cliffhanger: a story that ends by resolving one complication with the addition of a new one, or leaves a key question unanswered.
• Twist: something unexpected and surprising happens; usually foreshadowed.
• Reflection: the protagonist (or another character) thinks back on the events of the story and considers what they have learned.
• Circular: the story ends where it began.
  

Reading a Short Story

The story is only three pages long so it's easy enough to cover in one lesson with time for some follow-up. Read through 'Tag Someone' with the students (you would probably want to do this soon, I suspect the technology referenced in the story will become out of date before we know it) and then have some time discussing it a little. 

Story is here: Tag Someone.

Analysing a Short Story

Students then analyse the components with some connection to thinking about the horror genre in particular. The worksheet below covers the purpose of an orientation, how the complication functions as a reflection of the horror genre and the way it explores the fears of our times, and the type of resolution that has been used by the author. 

Worksheet here: Tag Questions.

If you have more time afterwards, students could be asked to start thinking of their own short horror story, the fear they'd like to explore, and how they would structure it.

Happy Halloween :) 

Disclaimer: The above activity was written specifically for this blog. 

Patterns of Study in HSC English - Reflections and Ideas

If there's one part of the English syllabus that attracts my attention more than others, it's the Prescriptions List. I'm endlessly fascinated by the way in which this list interacts with the Literary Canon, intensely curious about how these texts are selected by NESA, and highly interested in what combinations of texts teachers select for their classes. It's the what and the why that I want to know. 

When I invariably ask someone what text they've chosen, and why was it chosen, I never get quite the same response. I think this is great and I'd love to see a big enough sample size to identify specific trends. Of course, this is complicated somewhat by the changeover between Prescribed Text lists, which occurs every 5 years or so.

The last Prescribed Text list released by NESA applied to 2015-2020. This essentially meant that a HSC Pattern of Study could be run for 5 consecutive times before a new text list would get released. The syllabus document from this time (released in 2014) indicated that the Area of Study module (which has now been replaced by the Common Module) would be reviewed in 2018 for updating in 2019. I'm not sure what the reasoning for this was if the rest of the syllabus was scheduled to run until 2020... seems a little needlessly complicated, would love to hear an explanation if anyone knows!

Anyway, I'm not sure what happened, but the Prescriptions List was reviewed prematurely in 2017 and the changeover of the entire syllabus was brought forward to 2019. This is our current syllabus, which was initially scheduled to run from 2019-2023. The unforeseen circumstances of the Covid pandemic, however, means that it's likely to be extended to 2024. I say 'likely' as, even though there's been some communication that this is what's happening, our experience of the 2015-2020 syllabus indicates that we can't plan that far ahead.

We can reflect, however, on what we've taught and what's worked. And perhaps also what hasn't worked, and what we'd do if we had another run at it.

The current Advanced English syllabus for Year 12 specifies that we teach:

• FOUR texts from the main prescriptions list.
• ONE of which must be PROSE fiction (in other words, a novel).
• ONE of which must be SHAKESPEARE.
• And ONE of which must be either POETRY or DRAMA (this would be in addition to Shakespearean drama).
• The FOURTH text can be an additional text from any of the above options OR one of the non-fiction or film/media options.
• TWO texts from the Craft of Writing prescriptions list.
• This can be any two texts from the list, and you're free to teach more than two if you like, though be aware that this particular part of the syllabus remains contentious among teachers due to inconsistent assessment at the HSC Examination level.
• This year's exam (2022), for example, did not require students to call upon any knowledge of their prescribed Craft of Writing texts.
• It's also been embedded in the syllabus that students learn about Imaginative, Persuasive, or Discursive writing forms - but the prescribed list does not delineate which texts are which. The Imaginative texts are the fictional ones, obviously, but the non-fictional texts often combine Persuasive and Discursive elements. It's probably fair to say, though, that there aren't really any strictly Persuasive-only texts included in the list. I mean, let's be honest here, these terms are inventions of the syllabus and are being retroactively applied to texts that didn't set out to be 'Discursive' or 'Persuasive', so the whole thing is problematic unless we're told how we should categorise each text according to the module descriptor. It feels like there's some awareness that Craft of Writing has become unstable due to contradictory interpretations by teachers, and this is perhaps best evidenced by the fact that the 2022 HSC exam question ignored the 'Persuasive' option and instead specified that students write only in the Imaginative or Discursive genre. 
• Let's not even mention the inclusion of poetry in Craft of Writing and how this fits in.
  

The current Standard English syllabus for Year 12 specifies:

• THREE texts from the main prescriptions list.
• ONE of which must be PROSE fiction (a novel).
• ONE of which must be POETRY or DRAMA.
• ONE of which must be FILM/MEDIA or NON-FICTION.
• TWO texts from the Craft of Writing prescriptions list.
• The same rules (and issues) apply as seen in Advanced English.
  

The above specifications allow teachers to design their 'Pattern of Study' for Year 12 in accordance with what will be assessed in the HSC Examination. There are some additional mandated elements in both the Advanced and Standard syllabuses too:

• The range of text types must be 'inclusive' of prose fiction, drama, poetry, nonfiction, film, media, and digital texts. This seems to reinforce the specific choice of texts from the Prescribed List though, in the case of Advanced English in particular, you can choose a pattern of study that does NOT include Film/Media or Non-Fiction, so it seems like this additional caveat is asking for some supplementary material to be included at some point that allows for these text types to be included.
• The texts studied must also include Australian authors, specifically Aboriginal and/or Torres Strait Islander authors. Given that there are no Torres Strait Islander authors represented in any of the Prescribed Texts, this could potentially be seen as confirmation that these authors might be represented in the form of supplementary texts rather than Prescribed ones. I'm not sure how many Advanced English teachers would spend any significant time looking at supplementary texts though.
• The texts studied should also be representative of a range of cultural, social, and gender perspectives. I would interpret this as meaning that, among other things, there should be a mix of male and female authors represented in your pattern of study. As indicated by the dot point above, this is wholly interpretative and I doubt that all teachers approach this in the same way. Incidentally, there is only one non-binary author represented in the entirety of the NSW Prescriptions List (Kae Tempest, who has a performance included as one of the Advanced English Craft of Writing options).

Reflecting on Patterns of Study

I've had the opportunity to teach the Advanced English HSC year three times within this current syllabus. My pattern of choice for two of these times was:

1. The Common Module: Nineteen Eighty-Four by George Orwell (Prose).
2. Module A: The Tempest by William Shakespeare and Hag-Seed by Margaret Atwood (Shakespeare).
   
3. Module B: Under Milk Wood by Dylan Thomas (this covers the Poetry/Drama requirement rather neatly as it's sort of both. It's also technically a Media text as it originated as a radio play [the only text of its sort in the Prescriptions List] and can be played to students in this form). 
4. Module C: I tend to focus on 'Love and Honour and Pity and Pride and Compassion and Sacrifice' by Nam Le (an imaginative text) and 'Eight Days in a Corset' by Siri Hustvedt (one of the purest examples of discursive writing in the list). I also introduce some others if there's time so students have an opportunity to look at a variety of texts and independently study one that works better for them - these are 'How to Marry Your Daughters' by Helen Garner, 'That Crafty Feeling' by Zadie Smith, and 'Eulogy for Gough Whitlam' by Noel Pearson.
   

For Standard English, which I've taught less, my pattern of choice at the moment is:

1. The Common Module: Billy Elliot directed by Stephen Daldry (Film/Media/Non-Fiction requirement).
2. Module A: Inside My Mother by Ali Cobby Eckermann (Poetry / Drama requirement).
3. Module B: The Curious Incident of the Dog in the Night-Time by Mark Haddon (Prose requirement).
   
4. Module C: 'The Pedestrian' by Ray Bradbury and the 'Funeral Service of the Unknown Soldier' by Paul Keating.
   

Other Patterns

I'm not completely attached to any particular pattern of study as I actually like most of the Prescribed Texts. So, from a personal perspective, I can see the merit in most combinations of texts. That said, I would tend to design a pattern of study based on whatever my school and/or classroom context requires. If I was someone else who did NOT enjoy the vast majority of texts in the Prescriptions list, I would also factor in my enjoyment and/or appreciation of certain texts.

(DISCLAIMER: I'll also mention here that there are a lot of really cool patterns of study that just aren't possible due to the frustration of both a mandated Shakespeare and poetry/drama requirement. If Shakespeare could at least count as Drama then this would solve a lot of problems. More on this in a bit.)

Here are some examples of patterns of study and potential contextual reasons (I'll leave out the Craft of Writing as it doesn't impact on the rest of the pattern).

Advanced English

Example A.

1. The Common Module: Nineteen Eighty-Four by George Orwell (Prose)
   
2. Module A: Richard III by William Shakespeare and Looking for Richard directed by Al Pacino (Shakespeare).
3. Module B: Selected Poems by T.S. Eliot (Poetry/Drama).
   

Reasoning: This is a 'traditional' approach that sheers pretty close to the Literary Canon. For students and teachers who aren't afraid of the Classics (capitalisation intended), this combination would also be potentially useful if you're strapped for resources and ideas - they've all been taught so much and so widely that it should be relatively easy to find collegial support and resources both online and printed.

Example B.

1. The Common Module: All the Light We Cannot See by Anthony Doerr (Prose).
2. Module A: The Tempest by William Shakespeare and Hag-Seed by Margaret Atwood (Shakespeare).
   
3. Module B: A Doll's House by Henrik Ibsen (Poetry/Drama)
   

Reasoning: This is a 'heavy readers' combination that allows for contemporary connections to be made to big concepts with lots of discussion points. For students who have the time or inclination to read (All the Light... is a very large text to ask busy students to read, so I would keep this in mind and watch how students approach texts in the lead-up to Year 12).  

Example C.

1. The Common Module: The Crucible by Arthur Miller (Poetry / Drama).
2. Module A: The Tempest by William Shakespeare and Hag-Seed by Margaret Atwood (Shakespeare AND Prose).
3. Module B: Good Night and Good Luck directed by George Clooney (Film option) 

Reasoning: It's really difficult to make some combinations work and, invariably, this will mean one of the two Module A Shakespeare options need to be used just to meet requirements. This pattern of study could yield some fantastically deep thinking if you have a cohort of students who are interested in or already studying Modern History - the combination of The Crucible and Good Night and Good Luck makes use of a shared contextual understanding of McCarthyism and the Cold War. 

Some problems... I don't want to get too bogged down in patterns of study that don't work but I'll outline one example just so it's clear why some things can't happen, and this is purely down to the mandatory Shakespeare/Drama issue:

EG. If you wanted to do an Art/Classical/European approach that makes use of The Hare with the Amber Eyes by Edmund de Waal (Module B) then you'd have to sacrifice a lot of other texts that would potentially support its study - if there was a Module A combination that uses a Poetry/Drama text with a Prose text then you could at least do The Merchant of Venice for the Common Module. 

Standard English

Example A.

1. The Common Module: Go Back to Where You Came From directed by Ivan O'Mahoney OR Waste Land directed by Lucy Walker (Media).
2. Module A: Shafana and Aunt Sarrinah by Alana Valentine (Poetry/Drama).
   
3. Module B: Feed by M.T. Anderson (Prose). 

Reasoning: If you're looking to challenge the thinking of your class without relying too much on the cohort having developed literacy skills, then this pattern could work well. There's lots to talk about in connection to our modern global context across all of these texts.

Example B.

1. The Common Module: Past the Shallows by Favel Parrett (Prose).
2. Module A: The Castle directed by Rob Sitch (Film) OR One Night the Moon (Media).
3. Module B: Coast Road by Robert Gray OR Oodgeroo Noonuccal (Drama/Poetry).

Reasoning: This pattern allows for a broad look at Australian culture and could work well for regional or suburban classroom contexts where student cohorts have a strong preference for this sort of thing. You could potential present this pattern to students alongside some others so they feel like they have some agency and input into their HSC. 

Example C.

1. The Common Module: Rainbow's End by Jane Harrison (Poetry/Drama).
2. Module A: Reindeer in My Saami Heart directed by Janet Merewether OR Unpolished Gem by Alice Pung (Media/Non-Fiction).
3. Module B: The Curious Incident of the Dog in the Night-Time by Mark Haddon (Prose).
   

Reasoning: This approach has a strong focus on identity and advocacy, with students able to examine the challenges surrounding issues such as the Indigenous experience, multiculturalism, and disability. There are strong links in particular that could be made between Rainbow's End and Reindeer... as both deal with indigenous peoples and explore a common global context. 

Some problems... as above for Advanced, I don't want to dwell on the negative, but the biggest problem across the Prescriptions list for Standard English is the lack of Prose fiction options in Modules A and B.

EG. In order to make use of non-Prose options in the Common Module, teachers only have four options across the other two modules to choose from. This will most likely end up being The Curious Incident of the Dog in the Night-Time, which (oddly) is the most accessible text of the four options. The other straightforward option is Feed by M.T. Anderson, but it will depend on the level of interest and patience your class has for quirky science fiction as to whether this would work. The other two options are Henry Lawson's short stories (again, there may be engagement issues with some classrooms) and Small Island by Andrea Levy (a staggeringly long novel of more than 500 pages). 

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If you're a teacher reading this, or a student who's just finished looking at each of the modules, let me know below what pattern of study worked or didn't work for you. Have you come across an unusual pattern that works? I'm very interested in knowing!