Body Paragraph Structure- A Modelled Example

Below is a screenshot of an annotated modelled example based on the question deconstruction from a previous lesson:



You need to note the following structure:

  1. The topic sentence links explicitly to the thesis statement at the end of the modelled introduction.
  2. The second sentence gives some context to the analysis which then follows.
  3. The third sentence/section contains analysis/insight into the text construction- including reference to specific generic conventions.
  4. The final sentence links back to the thesis statement and topic sentence.


In other words, it follows the ‘TEEL’ structure in an entirely clear manner.

Attached below are the body paragraphs themselves (un-annotated):

Responding Section Body Paragraphs-1gc5bsw

These paragraphs offer a comparative approach to writing about more than one text. The second body paragraph (on The Dressmaker) suggests a difference between this text and the first text written about (High Noon).

Please note that these paragraphs are sample/model paragraphs and therefore don’t contain ALL that could be said about the resolution of each text. There is more than can be said about each text and I would expect your paragraphs to include more detail.

However, I want you understand the STRUCTURE of an effective body paragraph and be able to apply this structure to your own work, your own ideas.

Sample Introduction- Comparative- Responding Section

Please note the sample introduction (below) as a model for writing a comparative response to a question in the Responding Section of the examination.

The overall structure of an effective introduction is written in green in the top right-hand corner of the image above. Please make sure you practise the structure of effective introductions as this in the most important paragraph in your response.

Question Deconstruction- Comparative Response- Responding

Please note the question deconstruction below. It uses two glossaries from the SCSA website.

  • There is a glossary which is used in the formulation of questions-
  • There is a glossary which is subject-specific and is found in Appendix 2 at the back of the syllabus document.

Both documents are available on the cover page of SEQTA.

We will be using this plan, the connectives document I gave you as well as the sample questions to begin writing our own responses to the question. We’ll revise introduction and body paragraph structure too.

The screenshot above shows how effective planning can lead to an effective thesis statement.

Comparing Texts- Connectives

When comparing texts (and remember… comparing means to look for similarities AND differences), you are expected to make the links between the texts explicit and clear. One way of doing this, is to use connectives. Here is a PowerPoint which contains some key words you’ll be expected to use in your next assessment:


Attached below are two model answers (taken from the ‘Good Answers 2017’ guide) which we will explore in terms of their structure and academic discourse:

Responding Section- Modelled Responses-1spq8v8

You may wish to explore the assessment criteria for your upcoming assessment. A copy of this can be found below:

Comparing High Noon and The Dressmaker

COMPARISON TABLE- HIgh Noon and Dressmaker-2kczu7f

In preparation for your assessment, please complete the attached table in as much detail as possible, paying close attention to how each text is constructed through generic convention.

Make sure you have notes on:

  • Archetype and how each text either endorses or rejects the hero/villain/victim archetype
  • How these archetypes are constructed through generic convention.

Western Genre

This week, we will begin exploring the Western genre. We will be looking at a series of images and revising our image analysis conventions, as well as conducting an initial viewing of ‘High Noon’. Please note the ClickView link to this text in a previous blog post.



Please download the resource below, which gives you some contextual information which will prove useful to your investigation into the Western genre.

Year 12 Westerns Booklet-trwsuy

2017 ATAR English Examination

The link below will take you to the 2017 ATAR English paper:


This examination gives you an opportunity to:

  • Familiarise yourself with the structure of the examination.
  • Explore the examinable content of the course.
  • Practice question deconstruction-  this is a vital skills which needs attention.
  • Prepare formative responses which address areas for development from previous responses.
  • Familiarise yourselves with the format and language of questions.
  • Practice planning responses to questions (particularly in Section 2) and arriving at focused propositions/thesis statements.

I am more than happy to mark formative (practice) responses and to arrange a tutorial to go through areas for development.


Please also familiarise yourselves with the two documents below:

The assessment table below contains information about the different assessments in Year 12 ATAR English.


The examination brief below gives you information about the structure of the Year 12 ATAR examination:



Your attention is drawn to the syllabus document (also available on the course cover page on SEQTA), particularly the glossary which can be found at the back of this document:


Finally, a range of resources relevant to ATAR English can be found at:


Close Reading- Diving Bell and the Butterfly

Below is an annotated extract from The Diving Bell and the Butterfly. Please read the extract through carefully and explore the annotations in as much detail as possible.


The learning objective here is to demonstrate the construction of the text for a specific purpose. The writer (Bauby) has used a range of generic conventions to position a specific response from the reader- namely his determination conflicting with his vulnerability. It’s a confronting chapter but we’re engaged by the distinctive and authentic voice which emerges from the limitations of his existence. He is very aware of his situation, but he creates a narrative which is infused with humour, irony and admiration for his desire to be validated as a fellow human being.

As you read it, look at the parts I’ve highlighted and read my annotations. The purpose here is for you to recognise what effective writers do and to use this as a stimulus for your own Composing responses next week.

Composing Section- Assessment Criteria and Modelled Example

Please explore the modelled example below, the audio text which accompanies it, the text itself and the assessment criteria.


The text of the modelled example (above) is as follows:

On reflection, it wasn’t the ‘end of the world’ moment I’d made it out to be. At the time, however, it was genuinely traumatic. The immaculate rows of desks and chairs, bookcases crammed with texts I’d most probably never get to read dominated my immediate landscape… as did my nemesis who was propped patiently against a cupboard waiting for me. It wasn’t meant to be like this. I’d imagined sailing through the choppy waters of my ‘A’ Levels and leaving school in a manner which made my parents proud of me. However, here I was, with my copy of Dr Faustus in my hand, about to be informed I was no longer a student in the school I’d known since I was eleven years old. Being told you’re not good enough hurts at any age and her words were daggers. Chucked on the academic scrapheap at seventeen, I trudged to the local job centre and threw myself at their mercy. And yes, it still hurts. But not as much.

Please note that the text of the my modelled response is written in black, my annotations are in blue and references made to the assessment criteria are written in red.

Movie List and ClickView

Please use the links to access the moving image texts we will study this year as well as ones previously studied.