Module C: The Craft of Writing Name:

Booklet 1: Rubric Deconstruction & Reflective Writing

Day:

“Education is not the learning of facts, but the training of the mind
to think”

- Albert Einstein
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Module C: Rubric
Read and highlight the rubric.
In this module, students strengthen and extend their knowledge, skills and confidence as
accomplished writers. Students write for a range of audiences and purposes using language
to convey ideas and emotions with power and precision. Students appreciate, examine and
analyse at least two short prescribed texts as well as texts from their own wide reading, as
models and stimulus for the development of their own complex ideas and written
expression.

They evaluate how writers use language creatively and imaginatively for a range of
purposes; to express insights, evoke emotion, describe the wonder of the natural world,
shape a perspective or to share an aesthetic vision. Through the study of enduring, quality
texts of the past as well as recognised contemporary works, students appreciate, analyse
and evaluate the versatility, power and aesthetics of language.

Through considered appraisal and imaginative engagement with texts, students reflect on
the complex and recursive processes of writing to further develop their self-expression and
apply their knowledge of textual forms and features in their own sustained and cohesive
compositions. During the pre-writing stage, students generate and explore various concepts
through discussion and speculation. Throughout the stages of drafting and revising students
experiment with various figurative, rhetorical and linguistic devices, for example allusion,
imagery, narrative voice, characterisation, and tone. Students consider purpose, audience
and context to deliberately shape meaning.

During the editing stages students apply the conventions of syntax, spelling, punctuation
and grammar appropriately and effectively for publication. Students have opportunities to
work independently and collaboratively to reflect, refine and strengthen their own skills in
producing highly crafted imaginative, discursive, persuasive and informative texts.

Note: Students may revisit prescribed texts from other modules to enhance their
experiences of quality writing.

Dot-point and discuss what you think you are required to do in this module.
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What is ‘The Craft of Writing’?

“In this module, students strengthen and extend their knowledge, skills and confidence as
accomplished writers”

Module C: The Craft of Writing is akin to the previous HSCs’ imaginative writing
components. This module aims to expand students’ writing skills and encourage mastery
over not only imaginative writing but reflective, informative, discursive and persuasive
writing also.

To become the ‘accomplished writers’ the rubric demands, students utilise different texts
from their own wide reading, texts sourced from other modules and prescribed texts as
conduits through which they can learn, appreciate and understand different styles of writing
from already accomplished authors.

“They evaluate how writers use language creatively and imaginatively for a range of
purposes; to express insights, evoke emotion, describe the wonder of the natural world,
shape a perspective or to share an aesthetic vision.”

Here, the rubric is asking students to be evaluative. Essentially, students are to analyse texts
and make personal evaluations on the following aspects of a text;

 How composers present issues or ideas.

 How composers represent or provoke emotion.
 How composers present certain perspectives, ideologies or notions.
 How composers represent the natural world.
 How composers embed meaning and purpose within their writing.
 How composers share their personal stylistic/aesthetic vision (through form, literary
features and particular styles of writing).

This part of the rubric also reiterates the main focus of this module; cultivating and
developing a student’s own unique writing style by deconstructing, analysing and imitating
the works of renowned composers and texts. This is not simply copying but identifying key
literary features like the use of certain literary devices and stylistic features and applying
those features within your own work.

Analysis of contemporary and classic texts will give students an in-depth understanding of
how language can be utilised in different ways. Once students realise and appreciate the
differences between text types and the particular nuances and structures of these texts’
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types, the more easily they can apply them to their own work.
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Approaching Module C

“Through considered appraisal and imaginative engagement with texts, students reflect
on the complex and recursive processes of writing to further develop their self-expression
and apply their knowledge of textual forms and features in their own sustained and
cohesive compositions.”

The rubric provides a degree of guidance as to the way students should approach their
writing in this module. The rubric suggests a recursive process to create several pieces of
writing continually improving (hopefully) with each iteration. So essentially students should;
1. Have an adequate understanding of the style and features found in the given text
type
2. Have a detailed plan before writing.
3. Produce a first draft knowing that there is most likely room for improvement.
4. Redraft the response until students have an exceptional piece of writing.
5. Repeat the process.

During this process you need to experiment with different structural, figurative, linguistic
and stylistic aspects of your writing in order to determine what works for you. Engage with
techniques you come across in your reading and aim to add your own unique touch. Revise,
revisit and readjust constantly so that your writing stands out from the usual monotony of
other students’ work.

School assessment for Module C must total 25% of your total English school mark. Module C
can be studied and assessed concurrently with other modules (note the final sentence of
the rubric). It is this fact that makes Module C unique compared with the other modules.
Thus, the most effective and efficient approach students should take throughout year 12 is
to continually improve their skills by fully engaging with every module.

“Students have opportunities to work independently and collaboratively to reflect, refine

and strengthen their own skills in producing highly crafted imaginative, discursive,
persuasive and informative texts.”

The different texts you will need to master are:

 Imaginative: Refers to creative texts. Imaginative texts can take several forms
including short stories, poems as well as adaptations or explorations of existing texts.
 Discursive: Students will need to explore a topic from various perspectives.
 Persuasive: The use of language to persuade another to a certain viewpoint or belief.
Speeches, debates and expositions are common structures for persuasive texts.
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  Informative: Simply put, these are texts that aim to inform rather than explore or
persuade. Travel blogs, science journals and educative discourse are some examples.

Reflective Writing
The other type of writing necessitated by the rubric is reflective writing, this will be the
focus of the booklet.
 Reflective: Students will be required to compose a reflective piece of writing that
effectively explains, analyses and evaluates. This must be supported by clear
analytical examples which makes connections between what students have learnt
and how they have applied that into practice. Reflective pieces of writing should
convey a deep understanding and appreciation of what, why and how a student has
written.

REFLECTIVE WRITING IS REFLECTIVE WRITING IS NOT

 Your response to experiences, opinions  just conveying information or
or new information. argument.
 Your response to thoughts and feelings.  pure description, though there may be
 A way of thinking to explore your descriptive elements.
learning.  straightforward decision or judgement
 A way to achieve clarity and better (e.g. about whether something is right
understanding of what you are learning or wrong, good or bad).
 A chance to develop and reinforce  Simple problem-solving.
writing skills.  A summary of notes or ideas.
 A way of making meaning out of what  A standard essay.
you study.
 A way connecting your thoughts and
beliefs to your learning

Thinking Reflectively
Reflective writing is mostly subjective in nature. This means that it concerns your thoughts
and can be personal, critical and in some ways creative. Reflective writing is an exploration
of your own work and thoughts; often this can result in more questions than answers which
is okay, as the main purpose of reflective writing is to comment on process rather than
simply analysing answers. Due to everyone’s unique perspective, reflective pieces are
unlikely to be the same, but the following diagram may help start your reflective thinking
process.
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Discuss your actions, solve over

Identify your assumptions, attitudes,
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Revisit experiences arching problems, locate the deeper

values, beliefs.
meaning and suggest changes.

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What to include
When preparing to compose a reflective piece make sure you are clear about your task, you
gather your ideas and make sure you have a logical process to follow. Despite reflective
writing being less formal, you should stick to some kind of structure. The following are some
things you may want to include in your responses:

 Your perceptions.
 Any questions you have.
 Experiences, ideas and observations you have had, and how they relate to the topic.
 What you found confusing, inspiring, difficult, interesting and why.
 Possibilities, speculations, hypotheses or solutions.
 Alternative interpretations or different perspectives on what you have read or done.
 How new ideas challenge what you already know.
 What you need to explore next in terms of thoughts and actions.

You can also discuss how you:

 solved a problem;
 reached a conclusion;
 found an answer;
 reached a point of understanding.
 Justify your decisions.

It also may be helpful to make comparisons and connections between what you are
learning and your prior knowledge and experience and your prior assumptions.

(Note: although reflective writing is personal and subjective, keep colloquial language to a
minimum – but personal pronouns are usually okay).

Reflective Thinking
Explain your creative process and how you personally develop ideas in your writing.

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Structure of Reflective Pieces and Reflective Devices

Reflective writing is a versatile text-type and a range of English devices should be used, listed
are some that should most definitely be included.

Allusion: Alluding to contemporaneous influences helps contextualise a reflective piece of

writing. Alluding historical, cultural or religious influences helps personalise and connect the
responder with the writer.
Anecdote: Providing short, amusing and interesting story about a real person or incident
gives insight in to the life of the writer.
Symbolism: The effective use of symbolism in reflective writing adds an extra layer of
complexity to your reflection. It reflects that the reflection is undertaken on a number of
levels and should be appreciated as such.
Personalisation: The action of causing an issue, argument, etc. to become concerned with
personalities or feelings rather than with general or abstract matters is essential in making
your reflection feel authentic rather than simply a recount. Using first person and emotive
language is an easy way of satisfying this requirement.
Motif: Including a motif is a good way of providing purpose to a reflective piece of writing.

Reflective writing can take on a number of forms from memoirs, journal entries and
autobiographical texts to standard reflections; they can be fictional and non-fictional. All of
which can conform to a simple structure ad by answering in some form or another the
questions below.
1. Introduction
 What is the point of reflection being explored in this piece?
 Who is the reflector?
 What is the purpose of reflecting in this case?
2. Body
 Describe what happened in detail. How did it make you feel?
 Analyse each issue, what sense can you make out it?
 Evaluate, what was good or bad? How did it affect you?
3. Conclusion
 What general and specific conclusions can you draw?
 What will you do/improve/rethink next time?
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 What have you learnt or gained?

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 Reflective Writing – First Speech: The Hon. Linda Burney MP
Read and add annotations to the excerpt. To find the full speech go to
https://www.youtube.com/watch?v=JBzYfBA5mL8

It was in this chamber I experienced one of the most remarkable moments of

my life. I was in that gallery just up there. It feels like it was just yesterday.
But I will tell you that story of truth-telling and generosity in a moment.

Ballumb Ambul Ngunawhal Ngambri yindamarra. Ngadu bang marang

Ngadhu Ngu-nha winhanga nha nulabang nguwandang. Ngadhu biyap
yuganha. Birrang a ngawaal. Ngadhu, yand yaman gid yal. Yindyamarra.
Mandaang. Ngarind-ja.

-Personalisation: By I have just said, in the language of Wiradjuri, my people: 'I pay respect to the
offering greeting in
her traditional ancient Ngunawhal and Ngambri. I say this: good day. I am giving my first
language Linda speech and I am deeply moved. I have journeyed to another place—a
reflects on her powerful place. I am one person. I wish in this House to honour, to be
complicated respectful, to be gentle and to be polite. I am thankful, happy. I could weep.'
ancestry and offers
However, I say to my elders and to you, Mr Speaker, that that last bit may not
others insight into
who she is. always apply in question time!

I mention respectfully the traditional owners of the seat of Barton—three

clans of the Eora, the Bidjigal, the Gweagal and the Badigal, custodians of the
land from the Cooks River to the shores of Brighton-Le-Sands and out to the
Georges River. It is strong country. And to the traditional owners of all the
lands from which members of this chamber and the other place come: these
lands are, always were and always will be Aboriginal land—sovereignty never
ceded.

Question: The So, what was that remarkable moment? Many of you were here. It was the
posing of a question, first sitting of the new Labor government, on 13 February 2008. Kevin Rudd
reinforces the was the new Prime Minister, Jenny Macklin the minister for Indigenous
importance of the affairs, and Brendan Nelson the opposition leader.
event for Linda.

Personal Anecdote: Our nation had been holding its breath for a long time, waiting for three
Much of this speech words: 'We are sorry.' There was the stubborn refusal of the previous Prime
consists of personal Minister to apologise for policies which had ripped many thousands of
anecdotes, but the Aboriginal children from their family, culture and country—the devastating
sorry speech
effects still felt today. But around the perimeter of this chamber sat some of
anecdote is of
considerable those children, now old people, still wearing the scars of forced removal on
importance to Linda their faces. They were joined by all surviving prime ministers bar one.
and thus worth
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reflecting on in her Finally, as the words rang out across this chamber, across this land and
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maiden speech.
around the world, 'For this we are sorry,' the

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 country cried and began to breathe again.

As the speeches concluded, two women stood and handed the Prime
Minister, Leader of the Opposition and minister an empty coolamon—and I
beg the indulgence of the House in carrying a coolamon in here today. It was
the most gracious and generous thing I had ever seen. It was profound, a
gesture that made us all better people. Friends, a coolamon is what we
carried our babies in, which is what made it such an amazing, generous thing
to do.

I carry this empty coolamon into this place today as a reminder of that
moment, of the power we exercise in this building today, and that it must be
for the good of all. It must be gracious. But it has not always been so. But it
can be. That day the truth was told in this place, and the power of generosity
was writ large. So, Mr Speaker, the significance of coming down from that
gallery up there to the floor of this chamber is not lost on me.

Members, in this term of parliament all I want is to be able to stand in this

place knowing that the document on which it was founded finally tells the
truth. Recognition of the First People in our nation's constitution is the next
step on the path we are walking towards a country that can look itself in the
eye knowing that we have come of age. Fundamentally, reconciliation is
about three things: it is about reciprocity; it is about restitution; and it is
about truth telling. One of the bravest statements I ever heard was in the
opening ceremony of the 1997 Reconciliation Convention in Melbourne. The
10-point plan in the winding back of the native title debate was raging, and
the chair of the council at that time is now Senator Patrick Dodson. I was on
the executive committee—I am not sure if Patrick liked it or did not—but I
think I did okay and I think he did like it. He was an amazing chair. But
Senator Dodson said at the opening of that convention, in the presence of
the world media, 'There can never be reconciliation without social justice.'

Nor is the significance of a first speech lost on me. It is defining; it sets out
what has made you, what you believe in and what you stand for. It talks
about the seat and the people whose hopes, hurts, aspirations and loves you
carry into this place. It talks of the deep affection you have for those people.
Because of the significance, I carry into this chamber this cloak. This cloak
was made by my Wiradjuri sister, Lynette Riley, who will sing us into this
place now.

Ms Riley then sang in the Wiradjuri language —

Thank you, Lynette.

This cloak tells my story. It charts my life. On it is my clan totem, the goanna,
and my personal totem, the white cockatoo—a messenger bird and very
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noisy.

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 Let me share with you a little of what has made me. In 2010 I returned to the
little town I grew up in. It is called Whitton—I am a freshwater kid from the
Riverina. I learnt to swim in irrigation channels, and we shared that water
with yabbies, freshwater mussels, leeches, red bellied blacks and I suspect
considerable amounts of chemicals, which explains the constant boils and
hives I had as a child.

It was the 150th anniversary of the Whitton public school; I was a cabinet
minister at the time and I thought I looked pretty flash. A man a little older
than me—I guess he would have been one of the big kids when I was at
school—said to me, 'You know, Linda, the day you were born was one of the
darkest days this town has ever seen.' I was so shocked I could not respond.
You see, Mr Speaker, despite being more than 50 years on, I was born at a
time when a white woman having an Aboriginal baby was shocking—and
doubly so if that woman was not married. I was born at a time when the
Australian government knew how many sheep there were but not how many
Aboriginal people. I was 10 years old before the '67 referendum fixed that.

The first decade of my life was spent as a noncitizen. I was raised by two very
brave people who no doubt were made to pay for the bravery and generosity
they displayed—my great aunt Letitia Laing, Nina, and her brother Billy. They
were of Scottish heritage and in the latter part of their life. I have wondered
often had they not stepped up to raise me where my life would be now.

I loved them very much and experienced their passing and grief early in life. I
was taken in after their death by Coral Smith and her family. Coral's daughter
Barbara is my oldest friend on earth, 51 years! I spoke to her on the
weekend. Friendships over one's whole life are rare things, indeed.

I didn't meet my Wiradjuri father until I was in 28—his first words to me

were, 'I hope I don't disappoint you.' His name was Nonni Ingram, Lawrence
Ingram, of the great Wiradjuri Ingram clan. Nonni and his wonderful wife
Launa had 10 children. Ten brothers and sisters I didn't know existed! We
grew up 40 minutes apart. The power of racism and exclusion were not
things you could see, but you certainly felt them.

I had two sets of brothers and sisters—my mother married a man, a

wonderful man, called Fred Stracke. They had four children, two brothers
gone now, but my sister Kim is here today. I'm so thrilled you are here, Kim; it
means a lot. Fred spent his life serving in the Air Force and served in World
War II.

I would ask all of those listening this afternoon to imagine what it was like for
a 13-year-old Aboriginal girl in a school classroom, being taught that her
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ancestors were the closest thing to stone age man on earth and struggling
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with your identity.

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 Being in this chamber today feels a long way from that time. And from the
man in the schoolyard at the anniversary—well, here's to you mate.

In many ways these experiences have been the catalyst for my subsequent
life as an advocate for education and social justice. The Aboriginal part of my
story is important. It is the core of who I am, but I will not be stereotyped and
I will not be pigeonholed.

Let me tell you a little of the Wiradjuri story. In Wiradjuri lore Biami is the
creation spirit. He is the source of both our physical and moral landscape. The
story of invasion and conquest for the Wiradjuri is a brutal one. The deadly
art of poisoning waterholes and flour began in Wiradjuri country. Massacre
sites are dotted all over my lands. The scars are evident for all of us to see. In
1823 martial law was declared in Bathurst after Windradyne and his warriors
waged a fierce war of resistance. Four months later over 1,00 Wiradjuri were
dead by sanctioned murder. In 1842, during the second Wiradjuri wars, one
horror saw all but one young boy slaughtered when settlers opened fire on a
group taking shelter on an island amongst the reeds in the creek of the
Murrumbidgee River. That creek is now known as Poisoned Waterhole Creek,
and their sheltering place is called Murdering Island. On Saturday I drove over
that bridge and that creek. I stopped the car, I got out and my blood ran cold.
You see, Mr Speaker, I am of the Murrumbidya Wiradjuri.

In Barton, from the beach in Brighton-Le-Sands you can stand and look
towards Botany Bay where the First Fleet in 1788 first entered these shores.
Settlement or invasion is a matter of perspective—of whether you were on
the shore or on the boats in the middle of the bay. I spoke earlier of truth-
telling. Perhaps another great act of honesty and healing would be a
permanent remembering of those frontier wars, just down the road at our
national war memorial.

The chamber I have come from in New South Wales proudly hangs the
Aboriginal and Torres Strait Islander flags. Symbolism is important. I know
that symmetry is important in this place, but perhaps we could think that
once we get constitutional recognition we could add another two flags to this
chamber, coloured red, gold and black, and white, green and blue—the
colours and the flags of the two first peoples of this nation.

I will say that I intend to bring the fighting Wiradjuri spirit into this place. This
mob behind me knows what that is about. I will bring that spirit into this
place for the people of Barton, for the first peoples and for those great Labor
values of social justice and equality for all people.

I enter this place as a representative of the people of Barton, a community I

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have been proud to live in for almost 20 years. If there is a god of

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demography, it is one of his greatest ironies that

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 the seat named after the architect of the White Australia policy has become
one of the most multicultural in the country! Over half of the people in
Barton were born overseas. Almost 10 per cent were born in China. We have
a well-establish post-World War II Greek and European community, a thriving
Arabic-speaking community, a rapidly-growing Nepalese community, a
Macedonian community, an Indian community—you name it. We have
people from every corner of the globe. Barton is a kaleidoscope of languages,
ethnicities and cultures. I am not sure what Sir Edmund would think of the
ethnic wonderland being represented in this place today by, of all people, me
—and a Koori woman to boot!...

From Campsie to Kyeemagh and from Beverley Hills to Brighton, this

electorate could not be a more shining example of what our modern
Australia looks like. For the benefit of those in this House and in the other
place who doubt it, I want to place here on record that we are a stronger
community because of this diversity. We are better for our differences and
we are richer for all the broader cultural experience that it affords us. It is the
underpinning of small business in the Barton electorate by the people I refer
to.

We all have fantastic stories from election day, but let me share one with the
House. It is Hurstville Public School at 5.45. It is dark and it is cold. The booth
is being packed up and a car pulls up. There is a very old woman in that car.
She needs help to walk. It is a long way across that cold, dark playground. Her
daughter says, 'Mum, don't worry, we can just pay the fine.' This old woman
says, 'No, I'm voting. This is history.' Friends, it is history indeed. That, my
friends, is Barton, and we made history together….
TECHNIQUE QUOTE

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Go over and add your own annotations to the speech and fill in the table with
THREE good quotes. 3 Marks
Analysis Questions
In your opinion, what is the motif and why?
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Identify THREE ways Burney creates a reflective tone. 3 Marks

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Why has Burney opted for reflective tone in her maiden speech? Do you think 4 Marks
it was an effective choice?
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How does Burney use cultural and historical allusions to reflect upon her role 4 Marks
as an MP? (note: Burney is the first indigenous woman elected in the Federal
House of Representatives)
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Discuss the importance of personalisation in a reflective piece of writing. 4 Marks

Make detailed reference to Burney’s maiden speech.
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Extended Response
Linda Burney’s maiden speech to the Federal Parliament imparted a sense of 10 Marks
hope for the future while reflecting on past events.

Using her speech as a guide, reflect upon your own life journey and how certain hardships
moulded and shaped you into the person you are today.

This may be fictional or non-fictional.

Brainstorm:

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Homework
Using the checklist and marking criteria self-evaluate your extended response.

Did you clearly outline the focus of your reflective piece? YES/NO
Did you clearly indicate your emotions, feelings or thoughts during your YES/NO
reflection?
Did you evaluate and appreciate your reflection? YES/NO
Did you effectively engage with the question? YES/NO
Did you draw conclusions? YES/NO
Did you show new understandings or pose new questions about the point YES/NO
of reflection?
CRITERIA MARKS
• Composes an engaging piece of writing that responds to the question
skilfully
• Crafts language skilfully to convey a perspective / ideas / emotion
appropriate to the question 9-10
• Demonstrates skilful control of language and structure appropriate to
audience, purpose, context and selected form
• Composes a piece of writing that responds to the question effectively
• Crafts language effectively to convey a perspective / ideas / emotion
appropriate to the question
7-8
• Demonstrates effective control of language and structure appropriate to
audience, purpose, context and selected form
• Composes a sound piece of writing that responds to the question
satisfactorily
• Uses language competently to convey a perspective / ideas / emotion
appropriate to the question 5-6
• Demonstrates sound control of language and structure appropriate to
audience, purpose, context and selected form
• Composes a limited piece of writing that responds to the question simply
• Uses language variably to convey a perspective / ideas / emotion
appropriate to the question
3-4
• Demonstrates variable control of language and structure
• Attempts to compose a piece of writing with some relevance to the
question
• Demonstrates limited control of language
1-2
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Marker’s Comments
Page

*Bring Booklet to Next Lesson for Marking*

The Brain– 9586 0991 – www.thebraineducation.com.au

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CRITERIA MARK
S
• Composes an engaging piece of writing that responds to the question
skilfully
• Crafts language skilfully to convey a perspective / ideas / emotion 9-10
appropriate to the question
• Demonstrates skilful control of language and structure appropriate to
audience, purpose, context and selected form
• Composes a piece of writing that responds to the question effectively
• Crafts language effectively to convey a perspective / ideas / emotion 7-8
appropriate to the question
• Demonstrates effective control of language and structure appropriate to
audience, purpose, context and selected form
• Composes a sound piece of writing that responds to the question
satisfactorily
• Uses language competently to convey a perspective / ideas / emotion 5-6
appropriate to the question
• Demonstrates sound control of language and structure appropriate to
audience, purpose, context and selected form
• Composes a limited piece of writing that responds to the question simply
• Uses language variably to convey a perspective / ideas / emotion 3-4
appropriate to the question
• Demonstrates variable control of language and structure
• Attempts to compose a piece of writing with some relevance to the
question 1-2
• Demonstrates limited control of language
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