Writing Idea Chunks

Purpose

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As part of each of these modules, there will be a purpose that connects back to VCE English.

An Idea (as defined in the

Key Words and Definitions for Text Response module), is the smallest chunk of repeatable/reusable analysis in essay writing. It is extremely important that you understand how we break down Idea chunks for reuseability in the future.

Post-Module Learnings

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Following this module, these are the following skills you should have.

I am able to define the concept of an Idea Chunk in Text Response.

I know roughly how long an Idea Chunk should be for a Text Response, and understand how an Idea Chunk can vary with teacher’s expectations.

I am able to list the core components of an Idea Chunk in Text Response.

I am able to structure/template out what I need to include in an Idea Chunk for Text Response.

Content

The Basics of an Idea Chunk

I would highly recommend first having an understanding of what Evidence and Explanation is in Text Response, from the

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Introduction to TEEL Body Paragraph Structure section before trying and attempting this module.

As mentioned in

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Key Words and Definitions for Text Response, an Idea Chunk is roughly 3 sentences or so long [note that it could also be 2 to 5 sentences long if needed]. It varies between 70 to 120 words in length for EACH idea chunk. An Idea Chunk is purely a single piece of analysis that you write based on a single chapter, scene of a movie, or scene of play.

Generally speaking, there are two Idea Chunks included in a single body paragraph.

The purpose of the Idea Chunk is to create a ‘repeatable’ and ‘reuseable’ set of ideas for yourself that you can apply to different topics.

It is the most refined/processed version of a Text Response Evidence + Explanation combination. An Idea Chunk is going to contain both Evidence and Explanation.

Layer 1

These are the MUST HAVES in an idea chunk:

You MUST make it clear where your idea is located, e.g. describe in BRIEF detail what is the setting or storyline (As X Character is …), otherwise teachers are not going to know where you got your idea.

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It is good to analyse the titles of short stories if you have a short story collection as early as possible in the chunk.

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Especially for stories focused on specific single characters, definitely introduce them not just as a character, but also as a representation of a certain archetype or element of society.

❌ [DON’T DO THIS]: Peter throws a tantrum at his father George.

Do we know when Peter throws the tantrum? Why Peter’s throwing a tantrum? What’s happened before that may have caused this tantrum?
It leaves a deadend for analysis, where do you go next from this sentence in a flowing manner?
Don’t mention things like Chapter 1, Scene 1, just go straight into it.

✅ [DO THIS]: As George closes the nursery for the last time, Peter’s tantrum reflects how … [need a quote from the story as well]

E.g. As the mother crafts the first “laohu” paper tiger for her sad son…
We introduce the scene with a word like ‘as’ to make it clear that it’s only a part of our sentence, rather than the full thing.

You MUST have Evidence, including at least ONE (but preferably TWO or THREE) embedded quotes.

Quote should be between 2 to 6 words long.
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Embedding Quotes in Text Response

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It doesn’t matter if you have quotes that are necessarily outside the Chapter, your teachers are probably not going to care.

You MUST mention more than one character in your idea chunk, not just one, at least 2 to 3 characters should be mentioned (one of them is your primary character that you analyse).

E.g. mention both Jack (the protagonist) and also his mother
You shouldn’t be analysing all the characters you mention, just one is enough, but you should name-drop at least one more character.
NOTE: This doesn’t necessarily apply to poems.

You MUST have Explanation, mentioning the author/director/playwright/poet’s name by the end of your three sentences.

You must MENTION the author’s last name, e.g. Liu demonstrates/depicts/ suggests/highlights
Usually I would recommend you include the author’s name by the third and final sentence… that’s the best place to put the reference to the author’s name.

You MUST have some sort of symbolism or literary/film technique highlighted in one of your quotes (e.g. depressing imagery, or hopeful imagery, symbol of power, gender roles etc).

I believe this is going to be the hardest one to write, just because you need to get a list of symbolism and techniques.
Please make sure you vary up the types of symbols between chunks: literary techniques (imagery, metaphors), structural (ordering, way in which the piece is written), historical, societal and contextual references.

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Don’t try and go overboard and fit 3 symbols into your chunk that’s too much as well.

Layer 2

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The Layer 2 must-haves are the ones that are deeper, that we only think about after writing the first iteration/version of a chunk.

You need to be able to reference some sort of CONTEXTUAL or HISTORICAL reference linked to the text.

Introduce the names of characters for the first time in a chunk with an extra description before or after the name.

Layer 2 Chunk Example

Indeed, Macbeth’s “black and deep desires” broke the “double trust” of his family and his loyalty to the king, highlighting the conscious decision made despite his soliloquy, therefore establishing his Sisyphean responsibility in an endless cycle of deceit. Shakespeare condemns fleeting and inconsequential friendships that ultimately are overpowered by the consequence of that “returning were as tedious as go o’er”, as Macbeth ruthlessly murders his closest friend, in attempting to solidify his position. Furthermore, the Red King's "instruments of darkness" are provoked so greatly that an entire family is "o'erleap[ed]" without the help of his "dearest chuck", thus, reflecting that the actions he had taken were driven by his own will without the influence of those around him.

Idea Chunk Structures

Generally, if you need a bit of a breakdown of how to follow a three sentence structure for it:

Scene Sentence (Mostly Evidence, avoid retelling)

Symbol/Character Sentence (Mixture of Evidence/Explanation)

Character/Author Sentence (Mostly Explanation, Link to the Topic)

There is also another simpler structure that you can try if you’re not comfortable.

Evidence Sentence (basically just evidence)

Explanation Sentence (mostly explanation)

Author Sentence (short, sharp, link to the topic)

Chunk Scoring Guide

The following is a VCE Scoring Guide for Chunks that we have developed, to help you gauge where you sit. VCE marks their essays out of 10, so we have adopted that convention. We have the score, the percentage of students who receive that score, followed by the chunk.

9/10 - 4%

Liu delves into the human propensity for neglecting filial and cultural bonds, iconic of the structurally accelerating depiction of time from cherishing a mother whose paper creations "moved with her life" to the father who "aged rapidly". Indeed, the cultural "magic [that] had animated" the paper menagerie is left discarded as the mere "memory of children", they serve as a fleeting reminder of the fragile, transient nature of family ties. With the essence of the animals only left in the imagery of "paper patterns [that] had faded", this repudiation of one's childhood identity illustrates the broader struggle faced by children of immigrants, a universally symbolic moment of self-reflection for a globalising world that forgets its roots. Yet, with the inexorable pull of one's memories returning Jack "two years" after his mother's death, Liu's deployment of a non-linear narrative weaves together past and present, a denouement that catalyses with the cathartic conclusion of Qingming, China's tomb-sweeping ceremony, the importance of maintaining one's roots, no matter the hardship endured.

8/10 - 9%

Liu employs narrative flashbacks to the protagonist's "earliest memories" in capturing a chaotic cultural journey, where he "didn't know at the time" of his mother's sacrifices. By employing a non-linear timeline, Liu creates a sense of fragmented memory that underscores his inability to feel "ai", Chinese for love, with a mother who showered him with such kindness. Thus, Jack's emotional climax only surfaces in adulthood, where the paper tiger is "smaller than [he] remembered", imagery of the cultural disconnect he feels towards his Chinese heritage. The revelation of her sacrifices and love, uncovering a letter on "Qingming", the Chinese tomb-sweeping festival, serves as a powerful moment of catharsis, enabling Jack to reconcile the anger and bitterness he feels towards the under-appreciated half of his identity.

You will notice that it tends to get longer the higher mark we go, that's just kind of how it is. There is greater use of quotes (generally a strong chunk will have between 3 to 5 quotes, not just 1 or 2).

7/10 - 17%

In an emotionally evocative moment of visceral grief, the "animals will stop moving when I stop breathing" captures the essence of the ephemeral and fragile nature of the mother's love for her son, Jack. In its mournful portrayal of magical realism, Liu conveys the mother's love as an intangible yet potent force, the "magic that animated" the menagerie an embodiment of a mother's indelible connection to her offspring. This enables a symbolic connection between the mother's life force and the vitality of the paper animals, ultimately emphasising the preciousness and impermanence of love, as well as the consequences of taking such a powerful bond for granted.

Two to three strong quotes, well-analysed, a couple of sentences with good starters, doesn't end with basic character analysis. Authorial intent is a bit stronger.

6/10 - 22%

The mother's assertion that she must write "with all my heart" in Chinese emphasises her intrinsic connection to her native language and heritage. Liu's linguistic choice serves as a metaphor for the emotional and cultural barriers that drive a wedge between mother and son, ultimately contributing to the growing distance between them. As Jack begins to understand and embrace his mother's language rather than forcing her to "speak English", he also recognises the power of language as a bridge to reconnect with his cultural roots and, by extension, his mother's love.

One or two quotes, one or two characters, but some stronger analysis at the end. Mentions the author's name.

5/10 - 20%

In the mother's final moments, her "very weak voice" underscores the impermanence of life and the fleeting nature of love. This portrayal of the mother's vulnerability serves as a metaphor for the weakening bond between her and Jack, reinforcing how their relationship is slipping away. The mother's dying request for Jack to remember her during Qingming demonstrates the enduring power of love and cultural heritage, a plea that resonates deeply with Jack and ultimately leads him to rekindle his connection to both his mother and his cultural roots.

Basic analysis, not that many quotes, one or two, and very basic sentence starters, e.g. The, This. Quote should be somewhat embedded, but not all the time. Mention the author, Liu demonstrates... (avoid not mentioning the author)

4/10 - 14%

The mother’s weak voice on her deathbed represents the fragility of identity and the struggle to maintain one's true self in the face of societal pressures to conform. The statement, “Her voice was very weak and it was difficult to hear her” highlights the mother’s physical and emotional struggle to hold on to her identity as a Chinese woman in a predominantly white society. The use of sensory imagery, such as the difficulty in hearing her voice, conveys the mother's fading identity and her struggle to hold on to her true self.

Very basic analysis, quotes are not necessarily embedded. Basic sentence starters, e.g. 'The' every time.

3/10 - 8%

The paper menagerie and its "magic" is reflective of the importance of culture. Jack and his mother lose that magic when he grows up, feeling that Western culture is more important.

Really weak quotes, definitely not embedded, and short analysis.

2/10 - 3%

Jack leaves his mum behind because she is Chinese. This is an example of racism in the United States.

Short analysis with probably no quotes, that's why it's bad.

1/10 - 1%

When Jack leaves his mum behind, it shows that he is angry at her.

Typically, a 0/10 would mean the student did not write anything at all.

Basic Chunk Structures

I should mention that there are two basic chunk structures to follow - though most good students by Year 12 will be creating their own structures by the end. These are just to help get you started.

Ideally, I would recommend you use this link, it contains the notes for the FULL essay structure, but especially how to formulate Idea Chunks:

T1W9 - Text Response - Full Essay Structure.pdf - Shared with pCloud

Keep, share and access your files whenever you need from wherever you are. Create a free pCloud account and make your life easier.

https://u.pcloud.link/publink/show?code=XZVYF0VZ7XJw4uk5zgLgefykoiubj43nUejX

Scene, Symbol, Character Structure

Scene Sentence

The Scene sentence is the foundation of your paragraph, introducing the setting or a specific moment in the text that relates to the theme or idea you're discussing. It includes the most evidence from the text and establishes the initial context.

Key Features of the Scene Sentence

Introduction of context: It usually introduces a key moment or location in the narrative.

Focus on the moment: This sentence brings in textual evidence like quotes to describe what is happening at a specific point in the text.

Heavy in evidence: It relies on quotes or detailed descriptions from the text.

Steps to Write a Scene Sentence

Begin with a strong verb that opens the scene: "Opening with," "Commencing with," "Building on."

Describe the situation or setting: What are the characters doing? What is happening around them?

Incorporate quotes as evidence: Use quotes from the text to support your description of the scene.

Explain the significance of the scene and how it relates to the overall theme.

Example

Opening with the parents’ concern as they walk 'down the hall' of the Happylife Home, Bradbury establishes an isolating environment where the parents are afraid of their own children, requiring a ”psychologist… to look at” their behavior.

Symbol Sentence

The Symbol sentence delves deeper by focusing on specific symbols or imagery from the scene you introduced. It adds a layer of meaning and interpretation to what is happening in the scene.

Key Features of the Symbol Sentence

Focus on a symbol or imagery: This could be an object, setting detail, or even a word that stands out in the scene and holds symbolic meaning.

Link to the Scene sentence: The symbol must be drawn from the scene previously introduced.

Connective word: Always start with a connective word like "Thus," "Hence," or "Therefore" to transition smoothly from the Scene sentence.

Steps to Write a Symbol Sentence

Identify a symbol from the Scene sentence: This could be anything from an object to the atmosphere or even the language used.

Start with a connective: "Thus," "Hence," "Therefore."

Explain the symbol and its meaning: How does it relate to the larger themes of the text? What does it represent?

Provide textual evidence if necessary to support your interpretation.

Example

Thus, Bradbury’s deliberate choice of words in the “soundproofed” home symbolizes the disconnect between parents and children, whereby George and Lydia do not communicate with their own offspring in any meaningful manner.

Character Sentence

The Character sentence wraps up the paragraph by focusing on the internal or external behaviors of the characters within the context of the scene. It explores how the characters are affected by or contribute to the theme introduced.

Key Features of the Character Sentence

Explores character dynamics: Focus on how a specific character or group of characters behave or feel.

Links back to the scene and symbol: It must be tied to the events and symbols from the earlier sentences.

Character reflection: The sentence highlights how the character is shaped by or reacts to the theme.

Steps to write a Character Sentence

Identify a character or group of characters: This could be one of the parents or children from the text.

Start with a phrase like “With the parents now…” or “With this, Peter and Wendy…”.

Use evidence to explain the character’s behavior or emotions: How does the scene or symbol impact the character?

Link to the overarching theme of the response.

Example

"With the parents now losing control of their own family situation, 'know[ing] how difficult Peter is' about blocking the nursery, Bradbury disempowers father and mother by viewing them as helpless."

Evidence, Explanation, Author Structure

This one requires a bit more explanation, but fundamentally it involves having a first sentence with Evidence, followed by one with Explanation, and finally one with Author Structure.

Examples of Idea Chunks

I will walk you guys through some analysis of how Idea Chunks generally look, and what we should be including in them as well. All of these Idea Chunks took about 3 to 4 revisions to get this good (I gave feedback 3 times over before they could rewrite it at a high-scoring level).

All of these are for different types of texts, short stories, film, play, poems, fictional novel, but they all share a lot in common:

We always introduce the scene in the first sentence, what’s happening and why is this a good section to use?

We always must mention the author’s name and an explanation highlights/suggests/depicts/demonstrates in order to interpret what the author is doing.

Approximately 1 quote per sentence is a good amount to have. 3 sentences = roughly 3 quotes.

Here are some templates, we will go through them together, and for homework, you are going to be writing a bunch of these chunks!

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WARNING: These templates WILL NOT help you achieve a high score. by themselves, they are designed to help students get better at basic analysis. Without this, you may be completely lost, but you can’t fully rely on this to make you a better writer immediately. You still require feedback and guidance to get to where you need to be at.

The first five templates are simpler to use, while the last five are a bit more complex (in a good way).

Chunk 1: All the Light We Cannot See

Author: Anthony Doerr

Indeed, even after forgoing his conformity, Werner’s tragic death prevents him from further moments of triumph, “disappear[ing] in a fountain of earth” erasing his existence from the world.

Feeling as if “his body is giving up”, Doerr exemplifies the physical sickness plaguing Werner before death, demonstrating that his singular rebellion to save Marie-Laure “three times over” is insufficient to avert his premature end, rendering his courage insignificant and unrequited.

Therefore, although this suffering is eased by the “soft music” freeing him from the trauma of war in death, the conclusion of Werner’s life in illness cements the almost ineffectual nature of isolated rebellion whose outcomes only extend to the short-lived period of time in which they are enacted.

Chunk 2: Like a House on Fire (Flexion)

Author: Cate Kennedy

Peeking behind the curtains of an unfulfilling marriage in 'Flexion', Frank forces Mrs Slovak to keep her miscarriage a secret as he decides "that nobody [is] to know", alienating her in an already isolated, rural setting whilst the toll of showing "brightness and gratitude" continues to erode her confidence.

Additionally, her being unnamed coupled with the initial use of third-person perspective to describe her as nothing more than "[Frank's] wife" illustrates a lack of voice that exacerbates her vulnerability, forcing Mrs Slovak to internalise her resentment of Frank.

Thus, as "choking rage burns like a grassfire" inside her, Kennedy employs this simile to emphasise that the mental struggle of suppressing one's feelings to maintain a pleasant exterior ultimately results in a sense of bitterness, forcing Mrs Slovak's feelings of despair to grow internally.

Chunk 3: Like a House on Fire (Sleepers)

Author: Cate Kennedy

Fuelled by the town's chatter, Ray in 'Sleepers' decides he is “tired … of the way he had to rouse himself to move”, motivating him to steal the sleepers as the metaphorical pressure to 'wake up' and regain a sense of control is energising, urging him to take action as a means of validating his dignity.

Furthermore, the sleepers “discarded but with so much life” left in them are symbolic of Ray, an individual that interacts with life passively, while the external pressure to prove himself compels him to seek out acts of defiance to assert his capabilities.

Hence, through the imagery of “the cops' headlights casting big crooked shadows” as Ray is defeated by an illicit attempt to solidify his sense of self, Kennedy posits that “crooked” actions do not elevate one's image but instead stifle other opportunities for personal growth.

Chunk 4: Macbeth

Author: William Shakespeare

Macbeth’s “black and deep desires” broke the “double trust” of his family and his loyalty to the king, highlighting the conscious decision made despite his soliloquy, therefore establishing his Sisyphean responsibility in an endless cycle of deceit.

Shakespeare condemns fleeting and inconsequential friendships that ultimately are overpowered by the consequence of that “returning were as tedious as go o’er”, as Macbeth ruthlessly murders his closest friend, in attempting to solidify his position.

Chunk 5: Selected Poems

Author: William Wordsworth

Indeed, the rhyming of ‘Three years she grew in sun and shower’ enriches the lyrical elegy by enchanting readers with a gentle imagery of nature in a facade to soften its darker themes, romanticising the tones of death through a naturesque imagination.

Signifying the child’s growth within the “Three years she grew in sun and shower”, the narrator corresponds her life in accordance with the changing seasons to emphasise the intrinsic harmony of interdependence between man and nature.

Thus, simultaneously personifying Nature while comparing a child’s development to be more beautiful a flower as “Nature said, a lovelier flower / On earth was never sown”, Wordsworth highlights the cultivation of the heart and mind is best nurtured with a connectedness to the natural world.

Chunk 6: Rear Window

Director: Alfred Hitchcock

Rear Window opens with the rolling up of theatre curtains, initiating the amusement in engaging with voyeuristic tendencies, thus reflecting the social disconnect between neighbours post WW2.

Carefully crafting the opening scene utilising a panning shot of the neighbourhood through Jeff’s window, the peep across the courtyard symbolically represents the arrival of modern television; suggesting that Jeff, like the viewers, have dangerously and unconsciously embraced the reality of becoming a “race of peeping toms”.

Similar to the structure of a panopticon, Hitchcock enables voyeurism over the entire courtyard from the comfort of one’s apartment, depicting the ease and hence simultaneously the risk in engaging in voyeuristic actions while highlighting to the audience how they constantly remain subject to omnipresent supervision.

Chunk 7: Women of Troy

Adding to the discomfort for an Athenian audience with Hecuba’s body “lying face down and still” whilst the god’s meddling continues to unfold, Euripides draws attention to the deafening silence which represses the Trojan women, an assault on the value of parrhesia that marked the importance of democratic free-speech in Ancient Greece.

As Hecuba’s previous laments reflect the zoomorphic imagery of “howling pain no animal can endure,” a degradation to inhumane treatment, Euripides contrasts the “dirges” symbolising victory for Greeks to the “black-clad muse” perceived by the Trojan women, exemplifying their downfall and horror towards forced slavery.

As such, this “headlong fall to suffering” symbolic of a vicious cycle now plaguing the women that leaves no chance of retribution for the Trojan women reveals how “to die is better than a life of agony,” as the Trojans warriors are left without anguish and troubles whilst the powerless women face degrading enslavement.

How can we help?

Writing Idea Chunks

Purpose

Post-Module Learnings

Content

The Basics of an Idea Chunk

Layer 1

Layer 2

Idea Chunk Structures

Chunk Scoring Guide

Basic Chunk Structures

Scene, Symbol, Character Structure

Evidence, Explanation, Author Structure

Examples of Idea Chunks

Chunk 1: All the Light We Cannot See

Chunk 2: Like a House on Fire (Flexion)

Chunk 3: Like a House on Fire (Sleepers)

Chunk 4: Macbeth

Chunk 5: Selected Poems

Chunk 6: Rear Window

Chunk 7: Women of Troy