creative writing reflection example

What Is Reflective Writing? (Explained W/ 20+ Examples)

I’ll admit, reflecting on my experiences used to seem pointless—now, I can’t imagine my routine without it.

What is reflective writing?

Reflective writing is a personal exploration of experiences, analyzing thoughts, feelings, and learnings to gain insights. It involves critical thinking, deep analysis, and focuses on personal growth through structured reflection on past events.

In this guide, you’ll learn everything you need to know about reflective writing — with lots of examples.

What Is Reflective Writing (Long Description)?

A serene and introspective setting with a man writing -- What Is Reflective Writing

Table of Contents

Reflective writing is a method used to examine and understand personal experiences more deeply.

This kind of writing goes beyond mere description of events or tasks.

Instead, it involves looking back on these experiences, analyzing them, and learning from them.

It’s a process that encourages you to think critically about your actions, decisions, emotions, and responses.

By reflecting on your experiences, you can identify areas for improvement, make connections between theory and practice, and enhance your personal and professional development. Reflective writing is introspective, but it should also be analytical and critical.

It’s not just about what happened.

It’s about why it happened, how it affected you, and what you can learn from it.

This type of writing is commonly used in education, professional development, and personal growth, offering a way for individuals to gain insights into their personal experiences and behaviors.

Types of Reflective Writing

Reflective writing can take many forms, each serving different purposes and providing various insights into the writer’s experiences.

Here are ten types of reflective writing, each with a unique focus and approach.

Journaling – The Daily Reflection

Journaling is a type of reflective writing that involves keeping a daily or regular record of experiences, thoughts, and feelings.

It’s a private space where you can freely express yourself and reflect on your day-to-day life.

Example: Today, I realized that the more I try to control outcomes, the less control I feel. Letting go isn’t about giving up; it’s about understanding that some things are beyond my grasp.

Example: Reflecting on the quiet moments of the morning, I realized how much I value stillness before the day begins. It’s a reminder to carve out space for peace in my routine.

Learning Logs – The Educational Tracker

Learning logs are used to reflect on educational experiences, track learning progress, and identify areas for improvement.

They often focus on specific learning objectives or outcomes.

Example: This week, I struggled with understanding the concept of reflective writing. However, after reviewing examples and actively engaging in the process, I’m beginning to see how it can deepen my learning.

Example: After studying the impact of historical events on modern society, I see the importance of understanding history to navigate the present. It’s a lesson in the power of context.

Critical Incident Journals – The Turning Point

Critical incident journals focus on a significant event or “critical incident” that had a profound impact on the writer’s understanding or perspective.

These incidents are analyzed in depth to extract learning and insights.

Example: Encountering a homeless person on my way home forced me to confront my biases and assumptions about homelessness. It was a moment of realization that has since altered my perspective on social issues.

Example: Missing a crucial deadline taught me about the consequences of procrastination and the value of time management. It was a wake-up call to prioritize and organize better.

Project Diaries – The Project Chronicle

Project diaries are reflective writings that document the progress, challenges, and learnings of a project over time.

They provide insights into decision-making processes and project management strategies.

Example: Launching the community garden project was more challenging than anticipated. It taught me the importance of community engagement and the value of patience and persistence.

Example: Overcoming unexpected technical issues during our project showed me the importance of adaptability and teamwork. Every obstacle became a stepping stone to innovation.

Portfolios – The Comprehensive Showcase

Portfolios are collections of work that also include reflective commentary.

They showcase the writer’s achievements and learning over time, reflecting on both successes and areas for development.

Example: Reviewing my portfolio, I’m proud of how much I’ve grown as a designer. Each project reflects a step in my journey, highlighting my evolving style and approach.

Example: As I added my latest project to my portfolio, I reflected on the journey of my skills evolving. Each piece is a chapter in my story of growth and learning.

Peer Reviews – The Collaborative Insight

Peer reviews involve writing reflectively about the work of others, offering constructive feedback while also considering one’s own learning and development.

Example: Reviewing Maria’s project, I admired her innovative approach, which inspired me to think more creatively about my own work. It’s a reminder of the value of diverse perspectives.

Example: Seeing the innovative approach my peer took on a similar project inspired me to rethink my own methods. It’s a testament to the power of sharing knowledge and perspectives.

Personal Development Plans – The Future Blueprint

Personal development plans are reflective writings that outline goals, strategies, and actions for personal or professional growth.

They include reflections on strengths, weaknesses, opportunities, and threats.

Example: My goal to become a more effective communicator will require me to step out of my comfort zone and seek opportunities to speak publicly. It’s daunting but necessary for my growth.

Example: Identifying my fear of public speaking in my plan pushed me to take a course on it. Acknowledging weaknesses is the first step to turning them into strengths.

Reflective Essays – The Structured Analysis

Reflective essays are more formal pieces of writing that analyze personal experiences in depth.

They require a structured approach to reflection, often including theories or models to frame the reflection.

Example: Reflecting on my leadership role during the group project, I applied Tuckman’s stages of group development to understand the dynamics at play. It helped me appreciate the natural progression of team development.

Example: In my essay, reflecting on a failed project helped me understand the role of resilience in success. Failure isn’t the opposite of success; it’s part of its process.

Reflective Letters – The Personal Correspondence

Reflective letters involve writing to someone (real or imagined) about personal experiences and learnings.

It’s a way to articulate thoughts and feelings in a structured yet personal format.

Example: Dear Future Self, Today, I learned the importance of resilience. Faced with failure, I found the strength to persevere a nd try again. This lesson, I hope, will stay with me as I navigate the challenges ahead.

Example: Writing a letter to my past self, I shared insights on overcoming challenges with patience and persistence. It’s a reminder of how far I’ve come and the hurdles I’ve overcome.

Blogs – The Public Journal

Blogs are a form of reflective writing that allows writers to share their experiences, insights, and learnings with a wider audience.

They often combine personal narrative with broader observations about life, work, or society.

Example: In my latest blog post, I explored the journey of embracing vulnerability. Sharing my own experiences of failure and doubt not only helped me process these feelings but also connected me with readers going through similar struggles. It’s a powerful reminder of the strength found in sharing our stories.

Example: In a blog post about starting a new career path, I shared the fears and excitement of stepping into the unknown. It’s a journey of self-discovery and embracing new challenges.

What Are the Key Features of Reflective Writing?

Reflective writing is characterized by several key features that distinguish it from other types of writing.

These features include personal insight, critical analysis, descriptive narrative, and a focus on personal growth.

Personal Insight: Reflective writing is deeply personal, focusing on the writer’s internal thoughts, feelings, and reactions. It requires introspection and a willingness to explore one’s own experiences in depth.
Critical Analysis: Beyond simply describing events, reflective writing involves analyzing these experiences. This means looking at the why and how, not just the what. It involves questioning, evaluating, and interpreting your experiences in relation to yourself, others, and the world.
Descriptive Narrative: While reflective writing is analytical, it also includes descriptive elements. Vivid descriptions of experiences, thoughts, and feelings help to convey the depth of the reflection.
Focus on Growth: A central aim of reflective writing is to foster personal or professional growth. It involves identifying lessons learned, recognizing patterns, and considering how to apply insights gained to future situations.

These features combine to make reflective writing a powerful tool for learning and development.

It’s a practice that encourages writers to engage deeply with their experiences, challenge their assumptions, and grow from their reflections.

What Is the Structure of Reflective Writing?

The structure of reflective writing can vary depending on the context and purpose, but it typically follows a general pattern that facilitates deep reflection.

A common structure includes an introduction, a body that outlines the experience and the reflection on it, and a conclusion.

Introduction: The introduction sets the stage for the reflective piece. It briefly introduces the topic or experience being reflected upon and may include a thesis statement that outlines the main insight or theme of the reflection.
Body: The body is where the bulk of the reflection takes place. It often follows a chronological order, detailing the experience before moving into the reflection. This section should explore the writer’s thoughts, feelings, reactions, and insights related to the experience. It’s also where critical analysis comes into play, examining causes, effects, and underlying principles.
Conclusion: The conclusion wraps up the reflection, summarizing the key insights gained and considering how these learnings might apply to future situations. It’s an opportunity to reflect on personal growth and the broader implications of the experience.

This structure is flexible and can be adapted to suit different types of reflective writing.

However, the focus should always be on creating a coherent narrative that allows for deep personal insight and learning.

How Do You Start Reflective Writing?

Starting reflective writing can be challenging, as it requires diving into personal experiences and emotions.

Here are some tips to help initiate the reflective writing process:

Choose a Focus: Start by selecting an experience or topic to reflect upon. It could be a specific event, a general period in your life, a project you worked on, or even a book that made a significant impact on you.
Reflect on Your Feelings: Think about how the experience made you feel at the time and how you feel about it now. Understanding your emotional response is a crucial part of reflective writing.
Ask Yourself Questions: Begin by asking yourself questions related to the experience. What did you learn from it? How did it challenge your assumptions? How has it influenced your thinking or behavior?
Write a Strong Opening: Your first few sentences should grab the reader’s attention and clearly indicate what you will be reflecting on. You can start with a striking fact, a question, a quote, or a vivid description of a moment from the experience.
Keep It Personal: Remember that reflective writing is personal. Use “I” statements to express your thoughts, feelings, and insights. This helps to maintain the focus on your personal experience and learning journey.

Here is a video about reflective writing that I think you’ll like:

Reflective Writing Toolkit

Finding the right tools and resources has been key to deepening my reflections and enhancing my self-awareness.

Here’s a curated toolkit that has empowered my own reflective practice:

Journaling Apps: Apps like Day One or Reflectly provide structured formats for daily reflections, helping to capture thoughts and feelings on the go.
Digital Notebooks: Tools like Evernote or Microsoft OneNote allow for organized, searchable reflections that can include text, images, and links.
Writing Prompts: Websites like WritingPrompts.com offer endless ideas to spark reflective writing, making it easier to start when you’re feeling stuck.
Mind Mapping Software: Platforms like MindMeister help organize thoughts visually, which can be especially helpful for reflective planning or brainstorming.
Blogging Platforms: Sites like WordPress or Medium offer a space to share reflective writings publicly, fostering community and feedback. You’ll need a hosting platform. I recommend Bluehost or Hostarmada for beginners.
Guided Meditation Apps: Apps such as Headspace or Calm can support reflective writing by clearing the mind and fostering a reflective state before writing.
Audio Recording Apps: Tools like Otter.ai not only allow for verbal reflection but also transcribe conversations, which can then be reflected upon in writing.
Time Management Apps: Resources like Forest or Pomodoro Technique apps help set dedicated time for reflection, making it a regular part of your routine.
Creative Writing Software: Platforms like Scrivener cater to more in-depth reflective projects, providing extensive organizing and formatting options.
Research Databases: Access to journals and articles through databases like Google Scholar can enrich reflective writing with theoretical frameworks and insights.

Final Thoughts: What Is Reflective Writing?

Reflective writing, at its core, is a deeply personal practice.

Yet, it also holds the potential to bridge cultural divides. By sharing reflective writings that explore personal experiences through the lens of different cultural backgrounds, we can foster a deeper understanding and appreciation of diverse worldviews.

Writing a good reflective commentary

I recently a ran an online workshop on what a good RC might include, so for those of students who were unable to attend (and for those who did attend, but would like a refresher), here’s a summary of my suggestions.

First of all, I think it’s helpful to remember the differences between notebooks, your writing diary and a Reflective Commentary:

Notebooks are where you start writing creatively, whether in the form of ideas and notes or sketches and early drafts. Notebook writing can form the basis of the projects and creative writing assignments that you will send to your tutor. You may find yourself starting numerous notebooks for different areas of interest.

No one will read your notebooks except you. Privacy is important because the thought of anyone reading your writing may inhibit you. Notebooks can be paper or electronic (many people use their phones for jotting down ideas), or a combination of both – it’s totally up to you.

Writing Diary:

Your writing diary is where you record your thoughts on your writing and your developing writing skills. You can discuss and reflect on concepts related to the writing craft here and reflect on what you feel your own strengths and weaknesses are. What are you good at? What do you need to work on? How can you improve these skills? Which writers can you learn from? What have you been reading?

When you are generating new writing material, you’ll be partly learning on an intuitive level. A writing diary will help you to be more conscious of your learning process and more aware of the different skills you’re developing. If you add to your diary regularly, it will form a record of your writing journey.

Like your notebooks, your writing diary is for you alone and you can keep it in whatever format you prefer.

You can use your writing diary to help you write your Reflective Commentaries, but they aren’t the same thing.

Reflective Commentaries:

A Reflective Commentary is either a short piece of reflective writing (500 words for Levels 1, 2 and 3; or 350 words at Foundation Level) considering the particular assignment it accompanies, or it’s a longer piece of reflective writing which you submit at the end of the unit in which you reflect on your learning over the unit as a whole, with reference to particular assignments (especially the final assignment).

A few dos and don’ts:

Don’t discuss how you came up with your idea.

Don’t discuss pieces you started and discarded.

Don’t summarise the story, poem, script etc. – your tutor has just read it..

Do focus on the creative work you’ve just submitted to your tutor.

Do focus on a few writing techniques you’ve used in the work. You can’t cover everything, so choose those that are particularly pertinent.

Do say what writing techniques you used and why they were effective.

So, don’t say: “I wrote my story in first person” and leave it at that. Instead say: “I wrote my story in first person because I wanted the feeling of intimacy of the narrator talking directly to the reader about the events. This was important for my story because….”

Discussing Writing Techniques:

The term ‘writing techniques’ may seem rather abstract, but all it means is those techniques you used to write your creative piece. Here’s a selection of writing techniques you could consider:

Techniques in fiction:

Descriptive writing, metaphors and similes, setting, character, use of dialogue, structure, narrative pacing, point of view, tense (usually past or present), use of flashback (or, occasionally, flashforward), voice, word choice, register (formal or casual), information reveal (what do you tell the reader and when), psychic distance, use of free indirect discourse, sentence structure (e.g. a short sentence at the end of a paragraph for impact).

Techniques in poetry:

Use of stanzas, use of punctuation, imagery, word choice, tone, structure, point of view, use of sound (e.g. rhyme, or assonance, alliteration), rhythm.

These are just a few of the techniques you could discuss – there may be others that are more relevant to your particular piece of creative work.

The tone of the RC:

The reflective commentary is not an academic essay, so you don’t need to use academic jargon. Use first person, because it’s a personal reflection on your work.

However, don’t be too colloquial and chatty either – your tone needs to be moderate and considered. Don’t say “I tried to do X but it was rubbish”. Instead, say you thought it wasn’t successful as a technique and explain why.

Similarly, when discussing your reading, don’t just say “I loved this book” or “It was fab”. Instead, explain what you thought was good about it and why. Give your opinion, but support it with careful analysis.

Reflecting on your reading:

In the assessment criteria, a proportion of marks are allocated for Contextual Knowledge. Your final RC is your opportunity to demonstrate that you’ve read other writers and engaged with them seriously, not just as a reader, but as another writer.

In your final RC you should refer to both primary materials (e.g. novels, poems, stories, plays, films, memoirs, poetry performances, etc – depending on what form you’re writing in) and secondary materials (e.g. books, articles, blogs, videos, etc. about the craft of writing).

Get into good habits early on by referring to some primary and some secondary materials in your short RCs submitted with each assignment.

Think about what you’ve learnt from your reading in terms of craft – this is much more impressive than just saying you were inspired to write about the same subject.

So don’t say, “I enjoyed Vicki Feaver’s poem ‘Ironing’ and decided to write a poem about ironing of my own.” This might be true and you can put this in your writing diary, but in your RC try to think about what you learnt about the craft of writing poetry from your reading.

Include short quotations from your reading to demonstrate your points, but a short phrase or single sentence usually suffices (remember you’ve only 500 words for the short RCs).

The Final RC:

The Final RC is longer and in it you should consider what you’ve learnt from the unit as whole, as well as referring to particular assignments. You will now be close to preparing your work for assessment, so you should discuss your redrafting process – what you’ve changed and why – and also demonstrate your engagement with your tutor’s feedback.

Reflecting on redrafting:

Be precise. Don’t just say “I cut extraneous words” or “I rewrote Assignment 4 a lot”. Give examples of what you changed and why .

Use quotations from your own work when discussing what you’ve changed, but be brief: just a pertinent sentence or phrase.

Don’t just give a quotation from your assignment that shows it before redrafting, and then one after. Discuss the changes made and say why you think it is an improvement.

Reflecting on tutor feedback:

You don’t need to agree with every suggestion or comment from your tutor, but you do need to show you’ve thought about your tutor’s feedback.

Similarly, don’t say you changed something just because your tutor told you to – only change it if you think it’s the right change to make, and say why you think so.

A quirk of the system is that at Level 1 you are likely to write this final reflective commentary before receiving feedback on Assignment Five. You’ll need to redraft your final RC and add comments about your tutor feedback’s on Assignment Five and your redrafting process, before you submit this final RC for assessment.

Submit both your tutor-annotated final RC and a redrafted version at assessment.

Referencing:

Include a bibliography/reference list at end of all sources referred to in your RC (but don’t include anything you’ve not directly referred to), and use the Harvard Referencing Style.

The Bibliography does not form part of your word count.

Why write RCs:

Writing the reflective commentaries is an important part of the creative writing degree and the RCs serve several purposes. They are useful for tutors as they help us to understand students’ aims in a particular piece of writing. They should demonstrate students’ critical engagement with other writers as well as with books, articles, blogs etc. about the craft of writing, which helps us make better reading suggestions and to understand where our students are on their learning journey.

But, and arguably much more importantly, they’re a crucial part of your learning process, as they require a conscious engagement with the writing craft and a reflection on your writing skills, all of which will help you to think ‘like a writer’.

11 thoughts on “ Writing a good reflective commentary ”

Thank you Vicky. The workshop helped me have a better understanding of reflective commentaries.

This is an interesting article. I am studying photography and part of the work involves writing critiques of other people’s work. The guidelines set out above are relevant to any critique, whatever the subject matter. Thank you. I will be putting these suggestions into practice in my future work.

Thanks Vicky. I like the way you start with the Don’ts before the Dos!

Great advice Vicky! It would be lovely to see another workshop covering Reflective Commentaries. For some reason I struggle to get these right when doing my own R.Cs for the Art of Poetry.

This book called called: “Creative Writing and Critical Reflective Commentary.” was the only recent book I could find. It was really helpful to me It has an example in it and what else to include like references and how to write reflecively with underpinning critical theories.

https://www.amazon.co.uk/dp/B098MXYY54

https://celoe.telkomuniversity.ac.id/

“Your blog always provides valuable insights. Thank you for sharing!”

“I noticed you mentioned a study in this article. Do you have a link to the source for more information?”

It is critical to recognize the differences between notebooks, writing diaries, and Reflective Commentaries. Your workshop overview is important to both attendees and those who were unable to participate. Such clear thoughts greatly boost our writing experience. Thank you for sharing this enlightened viewpoint!

I’m really intrigues to know why you say so emphatically not to write about how you cam up with an idea – I would have thought his was crucial to the reflective process. Could you explain?

Your blog is appreciated for its usefulness and informative content. IFDA is the best institute for Computer Courses in Delhi and after that any courses completed IFDA is providing paid internship & 100% job placement. Best Computer Course in Delhi

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Creative Writing: Reflective Journaling

by Melissa Donovan | Aug 5, 2021 | Creative Writing | 58 comments

Reflective journaling cultivates personal awareness.

A journal is a chronological log, and you can use a journal to log anything you want. Many professionals keep journals, including scientists and ship captains. Their journals are strictly for tracking their professional progress. Fitness enthusiasts keep diet and exercise journals. Artists use journals to chronicle their artistic expressions.

A writer’s journal can hold many things: thoughts, ideas, stories, poems, and notes. It can hold dreams and doodles, visions and meditations. Anything that pertains to your creative writing ideas and aspirations can find a home inside your journal.

Today let’s explore an intimate style of journaling, one in which we explore our innermost thoughts: reflective journaling.

Creative Writing Gets Personal

A diary is an account of one’s daily activities and experiences, and it’s one of the most popular types of journals.

A reflective journal is similar to a diary in that we document our experiences. However, reflective journaling goes deeper than diary writing; we use it to gain deeper understanding of our experiences rather than simply document them.

Reflective journaling is a form of creative writing that allows us to practice self-reflection, self-exploration, and self-improvement. Through reflective journaling, we gain greater understanding of ourselves through mindful observation, contemplation, and expression. As a result, we become more self-aware.

Reflective Journaling

We all have stories to tell. With reflective journaling, you write about your own life, but you’re not locked into daily chronicles that outline your activities or what you had for dinner. You might write about something that happened when you were a small child. You might even write about something that happened to someone else — something you witnessed or have thoughts about that you’d like to explore. Instead of recounting events, you might write exclusively about your inner experiences (thoughts and feelings). Reflective journaling often reveals tests we have endured and lessons we have learned.

The Art of Recalibration is a perfect example of reflective journaling in which stories about our lives are interwoven with our ideas about life itself.

Reflective journaling has other practical applications, too. Other forms of creative writing, such as poems and stories, can evolve from reflective journaling. And by striving to better understand ourselves, we may gain greater insight to others, which is highly valuable for fiction writers who need to create complex and realistic characters. The more deeply you understand people and the human condition, the more relatable your characters will be.

Do You Keep a Journal?

I guess I’m a journal slob because my journal has a little bit of everything in it: drawings, personal stories, rants, and reflections. It’s mostly full of free-writes and poetry. I realize that a lot of writers don’t bother with journals at all; they want to focus on the work they intend to publish. But I think journaling is healthy and contributes to a writer’s overall, ongoing growth.

I once read a comment on a blog by a writer who said she didn’t keep a journal because she couldn’t be bothered with writing down the events of each day; I found it curious that she had such a limited view of what a journal could hold. A journal doesn’t have to be any one thing. It can be a diary, but it can also be a place where we write down our ideas, plans, and observations. It can hold thoughts and feelings, but it can also be a place where we doodle and sketch stories and poems.

I’m curious about your journal. Do you keep one? What do you write in it? Is your journal private or public? Is it a spiral-bound notebook or a hardcover sketchbook? Does journaling inspire or inform your other creative writing projects? Have you ever tried reflective journaling? Tell us about your experiences by leaving a comment, and keep writing!

Ready Set Write a Guide to Creative Writing

58 Comments

Hello. I keep writing refrective journal in Japanese. Now I’m trying to it in English. My dream is publish my book of English someday.Mamo

English takes a lot of practice, even for us native speakers, but with time, patience, and commitment, you can do it! Good luck.

Except for a few short months following an interstate move in December, I’ve faithfully kept a journal for 24 years. It’s reflective, it’s prayer, it’s story starts, character sketches, research and notes, it’s sometimes a rant, and usually how I see the world and my take on life. There’s just no way I function well without the journal. It fills some deep need for reflection and observation, but also the need to physically write, which is soothing and mind-ordering for me.

Twenty-four years is a long time! I’m impressed. Wait… that’s about how long I’ve kept a journal too! However, I haven’t been that faithful about it. There are weeks and months when I’m writing so much in other forms (blogging, fiction, etc.), that my journal gets neglected. I admire anyone who can stick with it over the long haul. No wonder you’re such a good writer!

It is wonderful to know that others in this world feel this way. Journaling does seem to help me fell aggreable about the events and happenings that were wholesomel and settle the ones that were not. I never thought of writing as soothing and wondered about dragon voice recognition to do the writing for me, but it just does not have the right feel. So I have stayed with hand writing to record my experiences in this fleeting life.

I have to confess I’m not a fan of voice recognition software except in cases where it helps people who are disabled and cannot type or write. The act of writing, of putting words down on paper or typing them onto a screen, is how we learn vocabulary, sentence structure, spelling, grammar, and punctuation. Otherwise, we’re just dictating, and that’s not writing.

Yes, I definitely believe that journaling is good for working out problems and celebrating life’s blessings.

Just today I was visiting with my pastor about this very topic. He wants to journal so he could revisit his thinking from time to time but is too impatient with handwriting. He uses Dragon Writing for dictating sermons, etc. and mentioned he might try it for journaling as well. Whatever works! I’m a big fan of handwriting and I occassionally type journal entries, print them and glue them into my journal. My journals include bits of everything – handwritten entries about my life, copies of special emails, images and articles I run across, quotes, creative sign copy I see while traveling, etc. etc. I tend to keep a separate travel journals and include bits of info from local newspapers, promotional brochures, etc. Other than travel, I like to have everything in one journal.

I’m a one-journal person, too, although I have notebooks for various purposes: one for my blog, one for my client work, and another for a fiction project. I don’t consider those journals. My journal is for ideas, personal thoughts, and poetry. Keep writing!

I was just thinking of putting everything in one journal. It drives me buggy to keep track of 20 different journals.(one for this,one for that)The reflective writing sounds helpful for a course I’ve been listening to on Podcast. Thanks!

I write essay and poetry, and I also keep a journal. I write stream of conscious sessions or dive into explanations of what I’m trying to say ina poem or essay. I also write book reviews and thoughts on what I’m reading. Rant too. All kinds of stuff.

I love stream-of-consciousness writing sessions too, although I usually call it freewriting. It’s the ultimate adventure in writing for me, and it generates so much great, raw, creative material. A really good session actually feels magical.

I’ve kept a journal since the early 1970s as a record of the things going on around me in my life, events, good and not so good things. It is a record of my life. I don’t know if anyone will read it after I am gone, but it has been handy for me at times. When I wanted to know when a certain event happened, I look back in my journal. Because people know I keep a regular journal, I have often had others call and ask me when such and such happened and I am able to find it.

I think your journal will be a wonderful record of your life, something you could pass along as an heirloom or donate to an archival library. I know lots of historical writers love to dig through those archives and learn about people’s lives. I think that’s so cool!

Thanks, but I doubt that it will ever make it into an archives. I will just be happy if my children and grandchilren appreciate it. I have read that people put all kinds of things into their journals, but this one is a life journal. That is one reason I started using some of your ideas for different kinds of journals. I have started a reading journal going all the way back to when I can remember reading, recording some of my experiences and favorite books and so on. I am doing in that way as more of a legacy in the hopes that someday my grandchildren who are avid readers (and possibly a few budding writers as well) will enjoy reading about their grandma’s reading adventures. It definitely has to be what works for a person, or they wouldn’t be motivated to write in it.

What a wonderful legacy — such a treasure. Your children and grandchildren are very lucky!

I agree your grandchildren are fortunate. I recently acquired a copy of my great, great aunt’s journal. It is priceless to me and gave me so many new insights into “pioneer days” when she and her family were traveling across the prarie during the land run in Oklahoma.

I have kept a journal for years. It does reflect what is happening in my life but is more conversations with God, my hopes and dreams, my discernments and my frustrations. I know someday my kids will read them but on a whole I am very honest in them. One of the best habits I have is to ‘harvest’ them, rereading what I write and highlighting certain passage. Get double benefits from that.

I have my great Aunt’s 60 plus years of journal and want to do something with them someday. I have a friend who typed out all of his grandfathers journals, gleaned nuggets of thoughts and wisdom and published a book for his family. Isn’t that cool?

Thanks for good thought today!

I love the double benefits of journaling. In my family, there has only been one journal/diary that I know of and I believe they threw it away because it was full of so much smack-talk about other family members. I read it and didn’t think it was all that bad, but someone got offended and our little family heirloom got tossed. Ugh, what a shame. I kind of wish someone had redacted the offending passages and kept the diary. Anyway, yes, one thing about journals is that “one day someone will read them.” People need to keep that in mind. Thanks, Jean.

I’ve been keeping a journal since I’ve been able to write. It was full of angst during my teen years, but since adulthood, it’s been mostly filled with observations and just whatever’s on my mind that day. Some could be called writing exercises, but I think they’re more like Morning Pages purging my mind of whatever ails it, to free it up for fiction writing.

I was a big teen ranter and whiner too (in my journal). I did morning pages for a while and enjoyed them very much, but I’m not a morning person, so eventually I switched. Now, I guess I write night pages, except I call them moonlight pages. Ha!

Hi melissa,

Great post! I do have a journal and I write there everything you have mentioned: ideas, thought, insights, things I observe around, small stories that come out of my mind in the middle of a train ride.

Regards, Fernanda

I love the multipurpose journal best of all. There are so many different types of journals — who needs a hundred different notebooks floating around? I’m right there with you, Fernanda, although I do have special notebooks for fiction and blogging. Everything else goes into my journal though.

Nice post with some great ideas. As to your questions, I guess I’m a journal slob too. My journal has a little bit of everything and I often put in story ideas and story beginnings. So you could say I get a lot of my writing from what began in my journal. As to what type of journal, I have recently started to keep mine at an online private journaling source, makes it really easy and convenient.

Thanks for posting this.

I’m curious about private online journaling. Do you worry about a third party having control over your journal? Do you back it up locally? I can’t journal electronically anyway. For some reason, I write all poetry and journaling (plus some fiction) longhand. I would love a tablet with a stylus!

I just started using the online journaling a couple of months ago. I use penzu.com, supposedly they use the same encryption that the military uses plus you can lock your journals with two pass codes and no one is suppose to be able to access it but you, not even their staff. You can also download it or print it out at anytime. I use to journal on my computer, because I can type faster than I can write longhand. But constantly downloading to cd and having to upload it each type I wanted to use a different computer was a real pain. I’ve lost journals due to viruses or corrupted cd’s. This way it’s all backedup automatically so I don’t have to worry about losing anything, and I can access it from anywhere. It’s really nice.

Thanks, Tiffiny. I certainly see the benefits of storing a journal online. I guess everything will eventually move to the cloud. Normally, I’m all in favor of technological advances, but storing my stuff (journals, photos, music) somewhere other than my own hard drives is one advance I’m not crazy about. I like the idea, but I am fixed on having my own backup. Anyway, I’ll definitely look into penzu.com. That sounds pretty cool!

I don’t go anywhere without my spiral notebook. I don’t really call it a journal, though. I write everything in it. From grocery lists to affirmations. I tend to think of a journal as being more personal. I cannot underatand a writer who does not keep some form of journal with them at all times. I guess they figure the good ideas will rise to the top.

I kind of understand the good-ideas-rise-to-the-top concept now. A while back, I started conceptualizing a novel and I would just think about my ideas throughout the day — for several months — and didn’t write anything down. And it worked. The best ideas stuck, so then I moved on to brainstorming and note taking. But generally, I write everything down and keep little notebooks stashed in places where I might need them in a pinch (my car, purse, nightstand).

I journaled frequently during our Peace Corps experiences in Ukraine and posted them on my website so they were availableto the public. I was amazed how many people followed them. I received many e-mails from total strangers who were living vicariously through my journals. When we returned to th euSA, we decided to do a stint in AmeriCorps*VISTA and because of my journals, someone contacted me and offered us wonderful housing (a housesitting arrangement) for the duration of our tenure. My journaling is generally reflective. I also do “morning pages” (a la “The Artist’s Way”)…these tend to be rants or details of my day or dreams and schemes and plans…these are private, unedited, quickly tapped out and I do not share them since they may be too intimate or revealing. (I use 750words.com and write as fast as I can for 20 minutes every day – no editing and no thinking just hit it sister!) It is amazing to look back at my journals and relive my thoughts and obeservations. I recommend doing this kind of daily writing. It is cathartic, healing and helps one know themselves. Life is good. “Ginn” In Steamy SC http://www.pulverpages.com (look for my Ukrainian journals there and my Malawi journals and find a link to my blog on my Camino from Roncesvalles to Santiago de Compostela)

I will definitely go check out your journals and 750words.com (I’ve never heard of that site). I love a fast, intense writing session with no editing. That’s where all my best material comes from.

I used to keep diaries when I was a kid and teenager. The ones from my teens were mainly public blogs and I wrote on them nearly everyday. In my twenties I’ve kept a private hardback journal where I write about experiences I don’t want to forget, feelings, stories, lyrics, doodles, rants, etc. I write pretty much anything I want to write about. Sometimes it helps me sort things out and other times it inspires me to write about something.

It is so weird to me that kids these days are keeping public diaries on their blogs. Blogs didn’t exist when I was a teenager (and I’m grateful for that!). When I was a teen and in my twenties, I always wrote down my favorite song lyrics (and made up plenty of my own too). What I love best about journaling is that anything goes. It’s my writing space, so I can write whatever I want there, and so can you!

Hi Melissa, I’ve kept some form of journal writing for years, but in a more deliberately conscious manner for about 8 years, in which I include, as you say, ‘free writes,’ which are so great for personal growth and awareness, as well as sudden insights about family and relationships and story ideas. I love my journal and, as I say, in recent years, keep it handy with me wherever I go.

That’s so interesting because I never get personal insights from my freewrites — just a lot of raw material that I can shape into something like a poem or song. I guess when I do focused freewrites, I solve problems, but in those cases, the freewrite has an intent (as opposed to just writing anything that comes to mind). That’s what I love about freewriting — there are so many different ways to use it.

This is the first time I’ve responded to one of your posts. Yet, you can rest assured that I read them faithfully. Why? Because, um, well, uh, because they are just so darn good!

I learn from you and enjoy the process.

Before I say how I use my journals, I must disclose that I am part owner of a business which sells guided journals as well as a home study course about how to get the most out of using a journal.

My first introduction to journal keeping came while I was in college. I treated the process poorly. I was a very bad date for my poor journal. You can say that while he was always faithful to me I certainly was not that to him.

Later, peer pressure from some very wonderful friends had me reaching for another blank book.

Now, well let’s just say my journals and I have become dearest of friends.

There is one journal which is different from all my others. I began it four years ago and there are only a few pages used. Yet, this journal is used faithfully as it was intended to be used. Once a year my granddaughter and I have a Christmas Tea. After our tea I record things about the tea and ask for her input. She will be six years old when we have our tea this year. This will be the first year her own pen will touch the page.

My desire is that she continue the Christmas Tea Celebration as well as the recording of the event after my death. Perhaps her mom or a friend will join her. Some day her own daughter may be her guest.

At any rate, the treasure she and I are creating together is worth more than any gold I might think of leaving her.

Thank you for your kind words, Yvonne. Your Christmas Tea Celebration and its accompanying journal is a beautiful idea. What a wonderful thing to share with the little ones. I think it’s a lovely tradition.

Yes, I always keep a journal. My thing is to not put any rules on it or it stresses me out. So, it is chaotic, unorganized, pages ripped out, stuff written here and there, scribbles, magazine clippings stuffed inside, pictures stuffed in. Messy.

Rules are stressful, aren’t they? I find that sometimes rules promote creativity but other times (like in my own journal), they hinder it, so I’m with you Kristy — I like a messy journal.

Your post is wondeful!! I do have a journal about which i had forgotten for almost a month :/ Reading your post just reminded of the fact that it was only because of constant reflective writing in my journal that i realised that this (writing) was what i want to do for my entire life! Thank you 🙂

I think a lot of writers start out by keeping a journal. There’s something about journal writing that comes naturally to certain people, and it makes sense that they would go on to become writers.

I started to keep an everyday journal when I was going through a tough time (about 4yrs now), it was suggested to me and ever since I’ve been keeping one. It’s great to get things out,sometimes though it’s hard to put everything down because I’m afraid someone will read it (because they would if they found it).lol but I use my journal for writing thoughts, feelings about things and people,memories,dreams/nightmares, I write about events that have happened too good and bad, I do drawings,sketches,poems,favorite quotes, stick in fav pics etc. Basically a bit of everything!! I prefer leather bound journals with plain paper but at the mo I’m trying out an art blanc journal because the design caught my eye,not to fond of being restricted to lines though! 🙂 I hope I keep one on into my life,sometimes I forget how helpful it is.

Great post! 😀

Your journal sounds a lot like mine! I do have a suggestion for you. If you’re uncomfortable writing your private thoughts in your journal because you’re worried someone will invade your privacy, you might develop a code system or use images instead of text to express certain ideas. I used to use code names for people, and I would sometimes write certain words in another language or using icons. It also makes journaling a little more interesting.

I call my journals Daily Milestones, because that’s what life feels like to me. Even in the most mundane days where I don’t engage in many activities, I can still have an epiphany in some way or another. If I’ve had an activity packed day or week, then I can go off even more!

I also like titling each entry with something witty like Planting Seeds in the Sandbox because it sometimes keeps the focus and intent of a certain entry. That one in particular is about how life is like a giant sandbox and how we, like children, like to play different roles. We plant “seeds” of our imagination to sprout into our reality.

When I first started keeping a journal in 2009, my entries would just be positive messages and revelations about life, but as time went on, they became more personal. I began writing about actual events in my day rather than just abstract inspirations. It felt odd to write about what happened in my day and even more weird to write how I felt about different aspects of the day and my life. I realized if I’m not gonna be honest with myself, especially where I have all the space and time to do so; what chance would I have with being honest with other people or in my creative writing?

It’s really helpful as a fiction writer to keep a journal because I notice a lot of recurring themes to write about: Reminders of how to remain on the path of truth and virtue amongst the many others that would take too much space in my post. One thing I find is how I judge/commend other people. When I write about other people they feel like they become fictional characters because of how I pick apart their faults and qualities. It helps me see them multidimensionally and transfer that realism in the characters I create in my stories.

And of course all this leads to a massive insight to self discovery as I find myself revisitting old entries just in case I’ve strayed from the path.

Thank you, Marlon, for sharing your experience with reflective journaling and explaining how it has benefited you as a writer, storyteller, and human being. What a wonderful testimonial!

Hi Melissa, sounds like your reflective journal is much like mine, with ideas, lists, doodles and plenty of free writing and first drafts of poem. I also note down story ideas and scraps of conversation or a phrase from someone else’s poem or story – so I suppose mine is a journal cum writer;s notebook. I also have a pad specifically for things to do and also my diary and when I look through they also seem to be combination of things, sometimes including pitching ideas and client requests.

Thanks, Sue. I love learning about how other writers use their journals, notebooks, and other writing tools. I’m glad you shared yours!

Hi Melissa,

I have been filling sketchbooks for years as a way of developing my watercolor painting skills, but I am a writer too, so inevitably I worte abd write a lot too, sometimes more than I sketched. Currrently, my main journal is a sewn-binding refill from Renaissance-Art. I have about 14 of them filled. I use mostly the 5.5 x 8.5 size and put my own hardbound covers on them when done, usualy with a sketch or writing on it and imitation leather trip. I use them for sketches on the spot or from photos, like a scrapbook at times, pasting in photos and this and that. An yes, resflections, insights, acconts of evens and trips, just about anything.

Good post, as usual. Thanks.

Hi Bill! Even though I can’t see your journals, they sound beautiful! I love when words and art come together.

I honestly don’t keep a journal,but I periodicaly write in a tablet ideas for new story development. ps.I have a book out the title is THE SIR DAVID THOMAS SERIES.Perhaps it may be something you would like to read.

A tablet or notebook could be considered a journal.

Honestly, i also don’t keep a journal, but I’d write my story ideas, probable developments of them , brainy quotes by others in every-day life and any interesting observation in my phone, laptop, or on a variety of papers (which do not form a notebook in whole!). But I have a separate notebook to jot down ideas for my thesis research report. I guess I’ll keep on writing my creative notes also in future in the same manner.

Yes, now with all these electronic devices, I think a lot of writers’ notes are becoming spread out. I use Evernote, which syncs to all my devices, including my computer. It has tons of great features — for example, you can clip stuff from the web. You can also create multiple notebooks.

Hi Melissa, Personally, I love keeping journals. I have multiple journals for different things. My private journal is just a regular composition notebook where I write down basically all my thoughts and things that happen to me. Occasionally, I paste pictures and articles. Another journal I keep is a spiral-bound notebook where I write down ideas, poems, short stories, etc. I have a couple of those, and I tend to read through them from time to time. I find it helpful to keep journals, that way, I can see the progress I’ve made over the years.

I love flipping through my old idea journals. I often find little treasures that I’ve forgotten about! Sometimes I even find an old idea that I’m now ready to use.

As silly as it might sound to some, I have MANY journals I keep at once. Of course, I have many to begin with and have been journaling since 1983…I have a journal of daily quotes filled with awe inspiring quotes from famous or important to me people. I journal of family history stories for when the thoughts and memories arise, I record them. My everyday (but not always every day) journal filled with intimate and inspiring yet sometimes dark and dreary moments in life. I have two journals (one for each of my children) loaded with photos and stories of important and important to me events to record in each of their lives. I have a Christmas and Thanksgiving journal so I can record each and every holiday and gathering with family and friends and including the preparing and gift giving. A travel journal that I use to prep for journeys and attach receipts and pics and business cards. I must not forget to mention the Bibliophile Reader’s Journal to record books I am reading so that I remember the most important details from each. An honorable mention is the Homes I Have Lived In Journal where I sketch out each home’s floor plan and add pics from our old albums to depict a room that just happened to be in old photos we took. One might ask, why so many as opposed to combining all in one? My simplest answer is; each journal represents a complex chapter in the Life of Me.

That’s awesome, Marcy! What a wonderful collection you’re creating.

I have already been trying to experiment on different types of journaling method since I was a child. My family knew how attached I have always been to notebooks.However, I would always find it too tedious to keep different notebooks for different aspects of my life. Finally, at 2018, I discovered the bullet journaling method. That was when I realized that I could actually keep an all-in-one journal. Currently, my bullet journal houses my ideas, my Bible reading and book reading reflections, and my thoughts. It also serves as my diary. But probably the most treasured part of my journal is Dream Notes section where I keep my most memorable dreams. That is because I would usually have weird and vivid dreams that sometimes serve as reflections of my current mental or emotional state. Other times, those dreams could be excellent sources for stories and poems. I’m always amazed of what my mind could conceive while I’m asleep. So I keep them recorded in my journal.

I use a variation of bullet journaling too. I’ve been doing it for a couple of years now (just ordered my third one) and it’s been pretty awesome. I use mine strictly as a planner, calendar, and tracker. I’m not sure I’ll keep all those journals; they’re mostly full of work-related stuff. So I like to keep my creative journals separate. I love notebooks too. Can’t have too many!

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Writing Nestling

What Is Reflective Writing? (07 Best Tips, Types & Examples)

Reflective writing stands as a beacon of introspection in the realm of personal expression and academic discourse. It is a multifaceted genre that invites individuals to delve into the depths of their thoughts, feelings, and experiences, and to articulate their insights with clarity and authenticity.

At its core, reflective writing is a process of self-examination and self-discovery, where individuals engage in a dynamic dialogue with themselves and the world around them.

It transcends mere narration, weaving together elements of analysis, introspection, and narrative to create a tapestry of understanding and growth.

Whether in the form of personal reflections, academic essays, or professional narratives, reflective writing offers a platform for individuals to explore their inner landscapes, confront challenges, and celebrate moments of triumph.

As we embark on this exploration of reflective writing, we uncover its significance as a tool for fostering self-awareness, enhancing learning, and promoting personal and professional development.

Table of Contents

What Is Reflective Writing?

Here’s a step-by-step breakdown of what reflective writing is:

Introduction

Reflective writing is a type of writing where individuals explore their thoughts, feelings, and experiences regarding a particular topic or event.

The primary purpose of reflective writing is to engage in self-examination, critical analysis , and personal growth. It allows individuals to reflect on their actions, decisions, and beliefs, gaining deeper insights into themselves and their experiences.

Reflective writing typically involves several key steps:

Description

Start by describing the event, experience, or topic you are reflecting on. Provide context and background information to set the stage.

Reflect on the event or experience critically. Consider what happened, why it happened, and how it made you feel. Analyze your thoughts, emotions, and reactions.

Evaluate the significance of the experience or event. Consider its impact on your beliefs, values, and behaviors. Assess what you learned from the experience and how it may influence your future actions.

Conclude your reflection by summarizing your insights and lessons learned. Reflective writing often ends with a plan of action or a consideration of how the experience will shape your future behavior or decisions.

Reflective writing can take various forms, including journals, essays, personal narratives, and self-assessments. The format may vary depending on the purpose and audience.

While reflective writing is often personal and introspective, it can also be shared with others. Some reflective writing is intended for private reflection, while others may be shared with mentors, instructors, or peers for feedback and discussion.

Engaging in reflective writing can have several benefits, including increased self-awareness, enhanced critical thinking skills, improved decision-making abilities, and personal growth and development.

Examples of reflective writing include personal journal entries, reflective essays for academic assignments, self-assessment exercises in professional development settings, and reflective blogs or vlogs shared online.

Overall, reflective writing is a valuable tool for self-reflection, personal growth, and learning from experience. By carefully examining our thoughts, feelings, and experiences, we can gain deeper insights into ourselves and the world around us.

Understanding Reflective Writing

Understanding Reflective Writing is akin to peering into the mirror of the soul, where thoughts, emotions, and experiences converge to create a tapestry of self-awareness and growth.

It transcends mere narration; it’s an intricate dance between introspection and expression, allowing individuals to delve deep into the recesses of their minds and hearts.

Like a masterful painter, reflective writers wield the brush of language to depict their inner landscapes with vivid strokes of insight and revelation.

It’s a journey of discovery, where each word becomes a stepping stone towards understanding oneself and the world around them.

In the realm of reflective writing, the ordinary transforms into the extraordinary, as everyday moments and encounters become portals to profound understanding and enlightenment.

Origins and Evolution

The origins and evolution of reflective writing trace back through the annals of human history, weaving a rich tapestry of introspection and expression.

While its roots may be ancient, with early philosophical musings and spiritual contemplations, its formalization and recognition as a distinct genre emerged more prominently in the modern era.

The 20th century witnessed a surge in interest, particularly within academia, as scholars and practitioners recognized its potential for personal and professional development.

From the introspective diaries of thinkers like Marcus Aurelius to the reflective essays of Michel de Montaigne, the evolution of reflective writing mirrors the shifting paradigms of human thought and society.

Today, in our fast-paced digital age, reflective writing continues to evolve, adapting to new mediums and technologies while retaining its essence as a timeless tool for self-discovery and growth.

Types and Forms of Reflective Writing

Diving into the kaleidoscope of reflective writing reveals a captivating array of types and forms, each offering a unique lens through which to explore the depths of human experience.

Personal reflections shimmer like gems in the sunlight, from the intimate pages of handwritten journals to the digital landscapes of online diaries, offering a sanctuary for raw emotions and unfiltered thoughts to unfurl.

Academic reflections stand as bastions of intellectual inquiry, with reflective essays and critical papers serving as canvases for scholarly introspection and analysis, challenging conventional wisdom and sparking new insights.

Meanwhile, professional reflections stand tall as pillars of growth and expertise, whether in the meticulous records of healthcare practitioners striving for excellence or the reflective teaching practices of educators sculpting minds and futures.

Together, these diverse forms of reflective writing form a mosaic of understanding and evolution, inviting individuals to navigate the labyrinth of their own minds and emerge enlightened and empowered.

Personal Reflections

Personal reflections shimmer as intimate windows into the soul, beckoning us to embark on a journey of self-discovery and understanding.

Within the sacred confines of handwritten journals or the digital realms of online diaries, these reflections serve as sanctuaries for our innermost thoughts, feelings, and experiences.

Here, amidst the pages, we lay bare our vulnerabilities, aspirations, and triumphs, weaving a tapestry of our lives with each stroke of the pen or keystroke.

Personal reflections offer solace in moments of turmoil, clarity in times of confusion, and celebration in moments of triumph.

They are mirrors reflecting the intricacies of our beings, allowing us to witness our growth, evolution, and transformation over time.

Through the act of reflection, we navigate the labyrinth of our emotions, untangle the threads of our experiences, and emerge enlightened, empowered, and more deeply connected to ourselves.

Academic Reflections

Academic reflections stand as pillars of scholarly inquiry, inviting individuals to engage in a profound dialogue with their own learning experiences and intellectual pursuits.

Within the framework of reflective essays and critical papers, students and scholars embark on a journey of introspection and analysis, delving deep into the nuances of their academic endeavors.

Here, the rigors of research and study converge with the introspective gaze, fostering a symbiotic relationship between knowledge acquisition and self-awareness.

Academic reflections serve not only as platforms for synthesizing and evaluating information but also as catalysts for personal growth and intellectual maturation.

Through the process of reflection, students and scholars alike navigate the labyrinth of their academic pursuits, grappling with challenges, embracing insights, and ultimately emerging with a heightened sense of clarity, purpose, and scholarly integrity.

Professional Reflections

Professional reflections serve as integral components of continual growth and development within various fields, providing practitioners with invaluable opportunities to refine their skills, enhance their practice, and cultivate a deeper understanding of their professional roles.

Whether in healthcare, education, business, or any other domain, professionals engage in reflective practices to critically evaluate their actions, decisions, and interactions with colleagues and clients.

Through methods such as reflective journals, peer discussions, or structured debriefings, individuals gain insights into their strengths and areas for improvement, fostering a culture of continuous learning and adaptation.

Professional reflections not only facilitate the refinement of technical expertise but also nurture the cultivation of empathy, resilience, and ethical decision-making.

By embracing reflective practices, professionals embark on a journey of self-discovery and refinement, ultimately enhancing the quality of their work and the outcomes for those they serve.

Techniques for Effective Reflective Writing

Embarking on the voyage of effective reflective writing is akin to navigating through a labyrinth of introspection and expression, where each technique serves as a guiding star illuminating the path to self-discovery and insight.

Like a seasoned explorer, one may employ mindfulness techniques to anchor oneself in the present moment, allowing thoughts and emotions to unfurl with clarity and intention.

Alternatively, one might wield the brush of narrative storytelling, painting vivid portraits of personal experiences with strokes of descriptive language and emotional resonance.

For those seeking deeper introspection, critical analysis and evaluation become indispensable tools, enabling the dissection of thoughts and actions with surgical precision, uncovering hidden truths and illuminating pathways to growth.

Whether through mindfulness, narrative, or critical analysis, effective reflective writing transcends mere observation, inviting individuals to embark on a transformative journey of self-awareness and enlightenment.

Self-Reflection Strategies

Self-reflection strategies serve as the compass guiding individuals through the labyrinth of their own thoughts, emotions, and experiences, offering a sanctuary for introspection and growth.

Like a skilled navigator, one may employ mindfulness techniques to anchor oneself in the present moment, fostering awareness and acceptance of one’s inner landscape.

Through practices such as meditation or mindful breathing, individuals cultivate a space for observation without judgment, allowing thoughts and emotions to arise and dissipate like ripples on a tranquil pond.

Alternatively, journaling serves as a vessel for the exploration of inner truths, providing a canvas upon which to articulate thoughts and feelings with clarity and authenticity.

By engaging in structured reflection prompts or free-form writing, individuals unveil layers of self-awareness, uncovering patterns, motivations, and aspirations hidden beneath the surface.

Whether through mindfulness or journaling, self-reflection strategies empower individuals to embark on a journey of self-discovery and transformation, illuminating pathways to personal growth and fulfillment.

Narrative Techniques

Narrative techniques in reflective writing are the brushstrokes that paint the canvas of personal experiences with vivid colors of emotion and detail.

Much like a master storyteller, individuals harness the power of narrative to weave a compelling tale of their inner journey, inviting readers to immerse themselves in the tapestry of their thoughts and feelings.

Through the artful use of descriptive language, dialogue, and pacing, narratives breathe life into the mundane moments of everyday existence, transforming them into profound reflections on the human condition.

Whether recounting moments of triumph, adversity, or introspection, narrative techniques infuse reflective writing with depth and resonance, forging connections between the storyteller and the audience.

In the realm of reflective writing, narratives serve as vessels of empathy and understanding, bridging the gap between individual experiences and universal truths, ultimately illuminating the path to self-awareness and growth.

Critical Analysis and Evaluation

Critical analysis and evaluation are the sharp tools wielded by reflective writers to dissect the complexities of their experiences, thoughts, and actions with surgical precision.

Like skilled detectives, individuals engage in a meticulous examination of their narratives, probing for underlying motives, biases, and assumptions.

Through the lens of critical inquiry, they unravel the threads of their reflections, teasing out insights and revelations hidden within the fabric of their stories.

Employing techniques such as questioning assumptions, examining evidence, and considering alternative perspectives, individuals navigate the terrain of their reflections with rigor and intellectual honesty.

By subjecting their narratives to scrutiny, they uncover layers of meaning and significance, transforming personal anecdotes into profound reflections on the human condition.

In the crucible of critical analysis and evaluation, reflective writers forge a deeper understanding of themselves and the world around them, paving the way for personal growth and enlightenment.

Benefits and Purposes of Reflective Writing

Reflective writing stands as the alchemist’s crucible, where the raw materials of experience, emotion, and thought are transmuted into the gold of self-awareness, growth, and understanding.

Beyond mere documentation, it serves as a transformative tool for individuals to distill the essence of their experiences, extracting valuable insights and lessons that might otherwise remain hidden in the depths of memory.

Like a mirror reflecting the soul, reflective writing offers individuals the opportunity to engage in a profound dialogue with themselves, unraveling the intricacies of their thoughts, emotions, and actions.

Through this process, they cultivate a deeper understanding of their strengths and weaknesses, aspirations and fears, ultimately forging a path towards personal growth and fulfillment.

Moreover, reflective writing fosters empathy and connection, inviting readers to bear witness to the storyteller’s journey and find resonance in their own experiences.

In essence, the benefits and purposes of reflective writing extend far beyond the page, permeating every facet of human existence with the promise of insight, growth, and transformation.

Personal Growth and Self-Development

Personal growth and self-development are the sacred fruits harvested from the fertile soil of reflective writing, nourished by the seeds of introspection and nurtured by the gentle rains of contemplation.

Through the act of reflection, individuals embark on a journey of self-discovery, traversing the landscape of their innermost thoughts, emotions, and experiences. Like a gardener tending to their garden, they cultivate self-awareness, uprooting weeds of doubt and watering seeds of potential.

With each stroke of the pen or keystroke, they unearth insights and revelations, fostering a deeper understanding of themselves and their place in the world.

Through the lens of reflection, they confront challenges with courage, embrace strengths with humility, and chart a course towards their fullest expression of authenticity and fulfillment.

Personal growth and self-development, thus, emerge as the blossoms of reflection, radiant and resplendent, illuminating the path to a more enriched and empowered existence.

Enhancing Learning and Critical Thinking Skills

Reflective writing serves as the crucible in which learning and critical thinking skills are forged into tools of profound insight and understanding.

Through the process of reflection, individuals engage in a dynamic dialogue with their own experiences, dissecting, analyzing, and synthesizing information with keen intellectual rigor.

This act of introspection cultivates a deep understanding of the subject matter, allowing learners to connect theoretical concepts with real-world applications.

Moreover, reflective writing prompts individuals to question assumptions, challenge perspectives, and explore alternative viewpoints, fostering a culture of critical inquiry and open-mindedness.

By honing their critical thinking skills through reflection, individuals not only enhance their capacity to evaluate information but also develop a nuanced understanding of complex issues.

Ultimately, reflective writing becomes a catalyst for transformative learning experiences, empowering individuals to navigate the complexities of the world with clarity, discernment, and intellectual curiosity.

Applications of Reflective Writing

Reflective writing serves as the alchemist’s elixir, transforming the ordinary into the extraordinary across a myriad of applications.

In education, it becomes the compass guiding students through the labyrinth of learning, fostering deep introspection and critical analysis as they navigate complex subjects and concepts.

In healthcare, it emerges as the healer’s tonic, enabling practitioners to reflect on their experiences, refine their skills, and enhance patient care with empathy and insight.

Within the realm of business and leadership, it assumes the mantle of the visionary’s scroll, empowering professionals to navigate the turbulent waters of decision-making with clarity, integrity, and foresight.

Whether in the classroom, the clinic, or the boardroom, reflective writing becomes a beacon of transformation, illuminating pathways to growth, understanding, and excellence in every facet of human endeavor.

Education and Pedagogy

In the realm of education and pedagogy, reflective writing emerges as the cornerstone of transformative learning experiences, inviting students and educators alike to embark on a journey of self-discovery and intellectual growth.

Through the act of reflection, students engage in a dynamic dialogue with their own learning experiences, uncovering insights, confronting challenges, and charting pathways to mastery.

Educators, too, harness the power of reflective writing to refine their teaching practices, critically evaluating their methods, and adapting strategies to meet the diverse needs of their students.

Whether through journaling, reflective essays, or classroom discussions, reflective writing becomes a catalyst for deeper understanding, fostering a culture of inquiry, empathy, and lifelong learning within educational settings.

By integrating reflective practices into pedagogy, educators cultivate not only academic excellence but also the essential skills of critical thinking, self-awareness, and personal growth that empower students to thrive in an ever-changing world.

Challenges and Considerations in Reflective Writing

Embarking on the journey of reflective writing unveils a labyrinth of challenges and considerations, each adding depth and nuance to the process.

One must navigate the treacherous currents of emotional vulnerability, confronting the raw truths and uncertainties that lie beneath the surface.

Moreover, the quest for authenticity poses a formidable challenge, as individuals grapple with the tension between candid self-expression and societal expectations.

Ethical considerations loom large on the horizon, prompting reflection on the implications of sharing personal experiences and perspectives with others.

Additionally, the specter of resistance and self-doubt lurks in the shadows, threatening to derail the journey before it even begins.

Yet, amidst these challenges, lies the promise of growth, insight, and transformation. By embracing the obstacles and uncertainties inherent in reflective writing, individuals emerge strengthened, wiser, and more deeply connected to themselves and the world around them.

Overcoming Resistance to Self-Reflection

Overcoming resistance to self-reflection is akin to navigating through a dense forest shrouded in mist, where each step forward is met with uncertainty and trepidation.

Yet, beneath the veil of resistance lies the promise of profound self-discovery and growth. To navigate this terrain, one must first confront the shadows of fear and self-doubt that obscure the path ahead.

Embracing vulnerability becomes the compass guiding individuals through the fog, allowing them to shed the armor of defensiveness and open themselves to the transformative power of introspection.

Cultivating self-compassion becomes the lantern illuminating the darkness, offering gentle encouragement and forgiveness as individuals confront their innermost thoughts and emotions.

Moreover, fostering a mindset of curiosity and acceptance becomes the sturdy rope bridging the chasm of resistance, enabling individuals to lean into discomfort and explore the depths of their inner landscape with courage and humility.

Ultimately, by embracing the journey of self-reflection with open hearts and minds, individuals transcend resistance, emerging stronger, wiser, and more deeply connected to themselves and the world around them.

Dealing with Emotional Vulnerability

Dealing with emotional vulnerability in the context of reflective writing requires the courage to venture into the depths of one’s soul, where raw emotions ebb and flow like turbulent waters.

It’s a journey fraught with uncertainty, where the weight of past traumas and insecurities can cast a shadow over the process.

Yet, it is within this vulnerability that the seeds of growth and healing are sown. By creating a safe and nurturing space for expression, individuals can gently unravel the knots of suppressed emotions and confront the ghosts of their past.

Embracing self-compassion becomes the guiding light through the darkness, offering solace and understanding amidst the storm.

Moreover, seeking support from trusted allies and mentors provides a lifeline of empathy and validation, reminding individuals that they are not alone in their struggles.

Through this process of courageous vulnerability, individuals unearth the buried treasures of resilience, authenticity, and self-acceptance, emerging from the depths with newfound clarity, strength, and emotional well-being.

Ethical and Confidentiality Issues

Navigating the ethical and confidentiality issues inherent in reflective writing demands a delicate balancing act between transparency and discretion.

As individuals delve into the intimate recesses of their thoughts and experiences, they must tread carefully to ensure that personal boundaries are respected and ethical standards upheld.

Safeguarding confidentiality becomes paramount, as the sanctity of trust between writer and audience must be preserved at all costs.

Moreover, individuals must grapple with the ethical implications of sharing potentially sensitive information, weighing the benefits of transparency against the risks of harm or exploitation.

By adhering to ethical guidelines and exercising discernment in their writing, individuals can navigate these murky waters with integrity and compassion, honoring the sacred trust bestowed upon them by their readers and peers.

Ultimately, by upholding the principles of confidentiality and ethical conduct, reflective writers can harness the transformative power of self-expression while safeguarding the dignity and privacy of themselves and others.

Case Studies and Examples

Case studies and examples in reflective writing serve as beacons of illumination, illuminating the path to understanding and insight with their vivid narratives and poignant anecdotes.

Like windows into the human experience, they offer glimpses into the complexities of real-life situations, providing context and depth to abstract concepts and theoretical frameworks.

Whether recounting moments of triumph, adversity, or epiphany, each case study and example becomes a testament to the transformative power of reflection, showcasing the profound impact it can have on individuals and communities alike.

Moreover, by highlighting diverse perspectives and experiences, case studies and examples foster empathy and connection, bridging the gap between theory and practice, and inspiring others to embark on their own journeys of self-discovery and growth.

In the tapestry of reflective writing, case studies and examples emerge as jewels of wisdom, sparkling with the brilliance of human resilience, compassion, and understanding.

Future Directions and Innovations in Reflective Writing

As we peer into the horizon of reflective writing, the future unfolds like a tapestry woven with threads of innovation and possibility.

Emerging technologies stand poised to revolutionize the landscape, offering digital platforms and interactive tools that amplify the reach and impact of reflective practices.

Virtual reality environments beckon, providing immersive spaces for self-exploration and narrative expression, while artificial intelligence algorithms offer personalized feedback and insights tailored to individual needs and preferences.

Moreover, interdisciplinary collaborations promise to enrich the tapestry of reflective writing, as diverse fields—from psychology to neuroscience to creative arts—converge to deepen our understanding of the human psyche and enhance the efficacy of reflective interventions.

As we embark on this journey of innovation and discovery, the future of reflective writing shines bright with promise, inviting individuals to embark on a transformative voyage of self-discovery and growth unlike any other.

Frequently Asked Questions (FAQ) about What Is Reflective Writing?

What exactly is reflective writing.

Reflective writing is a genre that involves introspection and self-examination, where individuals articulate their thoughts, emotions, and experiences in a structured manner. It goes beyond mere narration, often incorporating analysis, critical thinking, and personal insight.

What are the benefits of reflective writing?

Reflective writing offers numerous benefits, including enhanced self-awareness, improved critical thinking skills, and personal growth. It provides a platform for individuals to process their experiences, gain insights, and make meaning out of their lives.

How does reflective writing differ from other types of writing?

Unlike other forms of writing that focus primarily on conveying information or arguments, reflective writing emphasizes self-reflection and introspection. It encourages individuals to explore their thoughts and feelings, often in a subjective and personal manner.

What are some common techniques used in reflective writing?

Techniques for reflective writing vary, but they often include methods such as journaling, free writing, guided reflection exercises, and structured reflection prompts. These techniques help individuals organize their thoughts and delve deeper into their experiences.

Where is reflective writing commonly used?

Reflective writing finds applications in various fields, including education, healthcare, business, and personal development. It is often used in academic settings for assignments such as reflective essays or journals, as well as in professional contexts for personal development and practice improvement.

How can I get started with reflective writing?

Getting started with reflective writing is simple. Begin by setting aside time for introspection, finding a quiet space to reflect, and choosing a writing medium that suits you, whether it’s pen and paper or a digital platform. Then, start writing freely about your thoughts, feelings, and experiences, without worrying about grammar or structure.

Is there a right or wrong way to do reflective writing?

Reflective writing is inherently personal, so there is no one-size-fits-all approach. What matters most is authenticity and sincerity in exploring your thoughts and experiences. There are no right or wrong answers; the goal is to engage in honest self-examination and learning.

How can I use reflective writing to improve my personal or professional life?

Reflective writing can be a powerful tool for personal and professional development. By regularly reflecting on your experiences, identifying patterns, and setting goals for growth, you can gain valuable insights and make positive changes in your life and work.

In conclusion, reflective writing emerges as a profound and transformative practice that transcends mere expression to become a journey of self-discovery and growth.

It invites individuals to delve into the depths of their thoughts, emotions, and experiences, weaving together introspection, analysis, and narrative to create a tapestry of understanding and insight.

Through reflective writing, individuals cultivate self-awareness, enhance critical thinking skills, and foster personal and professional development.

It finds applications across various domains, from education to healthcare to personal development, offering a versatile tool for exploration and learning.

As we embrace the practice of reflective writing, we embark on a voyage of self-discovery and empowerment, where every word becomes a stepping stone towards a deeper understanding of ourselves and the world around us.

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How To Write A Reflection Statement – A Step-By-Step Guide

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Do you know how to write a reflection statement? Reflection statements are tasks that will increasingly be part of your assessments. In the past, reflection statements were only set for Extension 2. Now they will be commonplace in Advanced English for both Year 11 and Year 12.

In this post, we will demystify reflection statements and give you a step-by-step guide to producing statements that will impress your teachers!

What is a Reflection Statement?

A reflection statement is a complementary task that will accompany other assessment types. A reflection statement requires students to discuss the process of producing the associated assessment task.

In a reflection statement, students need to explain why they made the decisions they did. The reflection statement also offers the student an opportunity to say what they think they did well, or did poorly. Students can reflect on what they would change if they could do it over.

If you want to learn more about why self-reflection is such an important skill for students, you should read this excellent article by Cathy Costello at Virtual library .

Why can’t you give a specific definition of what reflection tasks involve?

The exact nature of the reflection task will depend on the assessment task you’ve been asked to reflect on. To give you an idea of this, we’ll look at some examples of the tasks that reflection statements might accompany and what the reflection statements need to address.

Reflection Statement Requirements
Assessment Task	Reflection Statement Requirements
A composition in a non-fiction form. This could be written as a journal entry, newspaper article, or something less specific like a persuasive piece
An original piece of creative writing
A piece of creative writing written in response to a text that has been studied in class. For example, this might be an adaptation or a scene written from another character’s perspective.
A presentation to your class or some of your teachers.
A group presentation by yourself and several of your classmates.
A presentation where you need to mix several of the modes of learning (speaking, representing, etc.)
A task where you listen to an audio clip and write a response or answer questions. This could also be a task where you listen to a peer’s speech or oral presentation and you reflect on your presentation in light of their presentation.
A written essay

As you can see, there are a wide variety of tasks where you could be asked to provide an accompanying reflection task.

How long is a reflection statement?

This will vary.

English Extension 2 reflection statements need to be 1500 words. If you’re not doing English Extension 2, it is unlikely that you will be required to produce something that long.

The tasks you will be set for English Advanced will range between 300 and 800 words. Most reflection tasks will be on the shorter side of things at around the 400-word mark.

Need help perfecting your reflections for Module C?

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Where will I encounter reflection statements?

You will be set reflective statements throughout Years 11 and 12. They can be attached to any assessment task for any Module.

However, due to the nature of the Common Module: Reading to Write it is likely you will be set one to accompany the main writing task for that Module.

Similarly, in Year 12, Common Module: Texts and Human Experience and Module C: The Craft of Writing are the most likely Modules where you will be asked to reflect on your process of composing.

Remember, there is no limit on how many reflections you will need to produce as they supplement a larger assessment task. You may need to write as many as two in both Year 11 and Year 12.

In the HSC English Advanced Paper 2 (from 2019) and HSC English Extension 1 Paper, you may be asked to write a composition and a reflection statement.

If you study English Extension 2, this is a mandatory accompaniment for your major work. (Please note, while the process discussed in this post is similar to the one for producing an Extension 2 reflection statement, it does not discuss the research and referencing components that you need to complete for an Extension 2 work).

Clearly, it is important to be confident writing reflection statements. Matrix students learn how to produce reflection statements and get help refining them.

The secret to producing killer reflection statements is to follow a process when writing them.

What we’ll do now is look at the process for how to produce ace your reflection statement.

How to write a Reflection Statement – a step-by-step guide

Like everything in English, there is a process you can follow to produce a reflection statement. Even though the specific task may vary. The process for writing the reflection will largely remain the same.

The process for writing reflection statements looks like this:

How to Write A Reflection Statement Step-by-Step

Step 1: Produce the main piece of work for the assessment

Reflection statements are never tasks in and of themselves, they supplement the main task. You will not be able to produce your reflection statement until you have completed and edited your main task.

If you are stuck on your main task and need help, you should read our Beginner’s Guide to Acing HSC English for detailed advice on all aspects of Year 11 and 12 English.

This can be useful. You may well discover that your reflection statement makes you reconsider some of your choices in your main task. In the process of writing your reflection statement, you may decide you need to redraft your main work.

This is one of the key purposes of writing a reflection statement. It forces you to consider what you have produced and the process of producing it. This is a key part of editing and improving your work.

Step 2: Read the assessment notification

Once you’ve produced your main piece of work, you need to revisit your assessment notification. A task that involves a reflection statement will come in two sections:

Section 1 will be the instructions for the main task;
Section 2 will be the instructions for the supplementary reflection task.

Rereading the notification is important as it will help you check that you have completed the main task correctly. It will also tell you exactly what you need to do for the second part of the task.

Step 3: Read the marking criteria

For every assessment task that you are given, you MUST be given accompanying marking criteria. Marking criteria are very important. They tell you explicitly what you need to do to get full marks for a specific task.

Reading through the marking criteria at this point serves two purposes:

You can double check that you have addressed all the criteria for a Band 6 result for your main task.
You can see what you need to do to achieve a Band 6 result for your reflection statement.

Your reflection statement may have very different requirements for a Band 6 mark than your main task. It is important that you are aware of the differences.

Step 4: Unpack what the reflection statement needs you to discuss for a Band 6 result

Now you’re familiar with the notification and marking criteria for the assessment task, you need to get these understandings down in writing.

To do this, you need to take a few steps:

Read through the instructions for the task and highlight or underline the keywords (these will usually be the verbs and nouns in the instructions).
Now you want to write these words down and define them. If you are unsure of a what a word means, that’s okay. Look it up. This is how you expand your vocabulary.
Next, do the same for the marking criteria. Underline what you feel are the keywords and terms. Again, write them down and define them.
Now you need to write down what you need to do for a Band 6 result. To do this, write down the instructions in your own words. Include what you need to do for a Band 6 mark in this instruction. Be sure to make note of whether this is meant to be written informally or formally, in the first or third person. You must follow the instruction regarding form for these tasks.

Now you’ve unpacked the question. This means you are now equipped to answer the question you’ve been set.

Next, you need to revisit your main task so you can see what you’ve done and evaluate how you’ve put it together.

Step 5: Reread what you have produced for your main task

Your reflection statement will require you to explain the choices you’ve made in your main composition.

You may not have thought too much about these things when you produced the work. And this is fine. It just doesn’t help you with the reflections statement.

If this is you, you need to read your work with an eye on how you have conveyed information. You must unpack how you have presented your ideas. Essentially, you need to reverse engineer your writing through textual analysis.

Some useful questions to ask yourself when doing this are:

How does my work address the assessment instructions and marking criteria?
What am I trying to convey here?
How does this part of my work address the marking criteria?
What technique have I used to convey meaning?
Why have I used that technique?
Could I have conveyed this idea differently? Would this have been more effective? Why?

Make notes while you do this. You want to be able to refer back to your findings in detail when you write the reflection statement.

Once you’ve finished this, you’re ready to start planning. By now you should have:

A detailed breakdown of what your task requires you to discuss in your reflection statement and how to discuss it.
A detailed set of notes about the piece you have produced for the main task.

Step 6: Plan your reflection statement

As with any task, you want to plan things before you get stuck in. Planning your work forces you to consider what information you must include and how you will structure that information in your response. This is an important part of the critical thinking process.

Reflection statements need to have structure, too.

You need to ensure that you introduce your ideas clearly, then expand on them, and, finally, summarise and conclude your statement. Even if you only need to produce a 250-word paragraph, you still need to ensure that it follows the conventions of composition structure. You will lose marks for presenting idea soup.

To plan your response, you’ll need to get your notes on the task and your notes on your response together. Then:

Read through your notes on the question. Remind yourself what you need to discuss in your reflection statement.
Write down what you will discuss in your reflection statement.
Now you need to think about what parts of your main task you will discuss. To do this, refer to your notes about your main task. Ask yourself, “which parts of my task are most relevant to what the task is asking me to discuss?”
Note down what you think will be the order for presenting your reflection. For example, you may want to start with your structural decisions before discussing your use of techniques or you may want to discuss your influences before discussing your ideas.

Once you’ve got your plan together, you’re ready to write. Matrix students get advice on their assessment tasks from their Matrix Tutors and Teachers. It might be helpful to ask a peer or parent for their thoughts if your school teacher can’t provide advice.

Step 7: Write your introductory statement

The length of your introduction will be contingent on the specifics of your task:

If your reflection statement is less than 400 words, you will need to produce one or two sentences.
If you are writing a longer reflection statement of more than 400 words, you will need to write a short introduction.
If you are producing an Extension 2 reflection statement, this will need to be a longer and more detailed introductory paragraph.

When writing your introduction, you must:

Introduce the topic you will discuss;
Explain how this reflects on the work that you are discussing;
Make reference to the Module you are studying.

Once you have produced your introduction, you are now ready to develop your discussion and discuss the specifics of your main piece of work.

Step 8: Write the body of your argument

Now you’ve introduced your subject matter you need to start presenting an argument. Even though you are reflecting on your own work, you still need to use examples to demonstrate how you’ve set about responding to the main task.

You will need to present several examples to support your argument, but the number of examples will vary depending on the length of the task you’ve been set.

For a shorter reflection, try to present two or three examples and discuss them in detail. If you need to produce several paragraphs, you should be aiming at around four per paragraph.

To do this:

Introduce the idea you were trying to convey (this might be an influence on your work, a technique you’ve tried to use, or a theme you’ve tried to explore).
Present an example of this idea.
Explain how you have attempted to use or explore this idea.
Explain how this addresses the instructions and marking criteria for the task.
Explain how this is relevant to the Module you are studying.
Comment on other choices you could have made and why you didn’t use the other option.
Repeat this for each example that you need to support your point.

Once you’ve done this, you need to conclude your reflection.

Step 9: Write your concluding statement

Your final statement needs to address the broad idea you have discussed in your response. It will need to be at least two sentences. A longer reflection will require a longer concluding statement; if you had a separate introduction you will require a separate conclusion.

To write your concluding statement:

Summarise the key ideas that you have discussed.
Make a statement about what you have taken away from your study of the Module and the process of producing this task and reflecting on it.

Now you need to revise what you’ve written.

Step 10: Proof and edit your work

It is really important that you proof and edit your work before submitting. You don’t want to throw away marks on typos and unnecessary grammatical errors. Proofing your work is something you must do after you finish any task.

To proof your reflection statement:

Reread your summary of the notification of the task and the marking criteria.
Read your reflection statement aloud.
Whenever you encounter a mistake or a sentence that sounds ungrammatical, correct it.
Pay attention to the logic of your argument. Does it make sense?
Ask yourself, have I addressed the instructions for the task?
Ask yourself, have I addressed the marking criteria for a Band 6 response.
Redraft your reflection statement in its entirety. Don’t submit your first draft. Your second draft will always be better.

If you would like to know more about the editing process, you should read Part 7 of our Beginner’s Guide to Acing HSC English: How to Edit Your Work .

Now you’ve finished a second draft you can submit. If you can, you should try and get some feedback. Matrix students get regular feedback from their Matrix Tutors and Teachers. Feedback on your work allows you to take somebody else’s perspective and use it to improve your marks.

Written by Matrix English Team

© Matrix Education and www.matrix.edu.au, 2023. Unauthorised use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Matrix Education and www.matrix.edu.au with appropriate and specific direction to the original content.

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Introduction to Reflection

There are many ways to produce reflection in writing. Try using these examples to kick-start your reflective writing.

Open each drop-down to see a different reflective writing example and exercise.

The Six Minute Write (Bolton, 2014)

If you are being asked to write reflectively you may feel that you do not know where to begin. Bolton’s Six Minute Writing exercise is a useful way to help get you started.

Peter has just started a course to train to be a counsellor and his tutor is asking every student to reflect on their learning and the development of their interpersonal skills. Peter is unsure where to start as reflective writing is a new thing for him, so he decides to try the Six Minute Write.

“Well, I’ve never written anything like this before! When I wrote at school I was always told to be really careful – make sure your spelling and grammar are correct, don’t use abbreviations, make it sound formal. This feels quite liberating! But, is it any good? The tutor says ‘Just write what’s in your head’ so here goes.

Today we did our first role play exercises and how scary was that? I always knew that the course would involve this and I do enjoy talking with people, but trying out listening skills and asking open questions is all really difficult. I felt so nervous and forgot what to do. The people I was working with seemed so much better than me – I know I’ve got so much to learn it’s frightening. Will I ever be able to do this? I really don’t know, but I do know I’m going to try.”

Use Bolton’s (2014, p. 136) Six Minute Write exercise to begin any writing exercise, whether academic or reflective, personal or formal.

Here are Bolton’s pointers:

Write for six minutes without stopping.
Write whatever comes to mind and let your writing flow freely.
Keep writing and do not pause to think too much about what you are writing.
Do not pause to analyse what you have written, otherwise you will be tempted to write what you think you should write rather than what you want to write.
Keep writing even if it does not make much sense to you.
Do not worry about spelling, punctuation, grammar or jargon.
Allow yourself to write anything.
This is your writing and whatever you write is correct because it is yours. Remember, no-one else needs to read what you have written.
Stop after six minutes and look at how much you have been able to write.

If we pay attention to how we think, we’ll soon notice that we are often in conversation with ourselves.

We have a kind of internal dialogue as we go about our day, making decisions (“The red top or the blue one?”) observing the world (“Beautiful day. But chilly. Where did I put my gloves?”) and maintaining self-awareness (“Oh goodness, she’s heading this way. You’re nervous? Interesting. Calm down. Be polite.”).

Reflective writing can take the shape of dialogue and be structured as a conversation with different aspects of yourself. We all have multiple identities (child, parent, student, employee, friend etc.) and each aspect of ourselves can take a different perspective on a situation.

Dialogic reflection harnesses these multiple perspectives to explore and inquire about ourselves in a certain situation, often when the purpose or outcome is unknown.

So now they’re encouraging us to try different types of reflective writing. I like the idea of this dialogical writing thing – feels like having a conversation with myself, so I think I’ll have a go. Not sure how it will pan out but I’m going to imagine talking with my organised self (OS) and my critical self (CS) and see how it goes.

OS – so doing really well at the moment, feeling pretty much on track with things and definitely on top.

CS – so how long do you think that will last? I know what you’re like! You always do this – think things are ok, sit back, relax and then get behind.

OS – do I? Umm… suppose you might be right…

CS – what do you mean, might be right?

OS – ok, you are right!

CS – and we know where this ends up, don’t we? Panic mode!

OS – and I need to avoid that. So, let’s think about what I can do. Look at the coming week and month and start planning!

Focus on an issue or concern that you have relating to your studies or practice. Imagine you are having a conversation with a friend about the issue because you want to get their perspective. Write a dialogue with “them” that explores your concerns. Raise any questions you’d like answered.

If need be, write another dialogue on the same issue with another “friend” to explore another perspective.

Once you’ve finished, re-read your conversation. Did your “friend” offer any new perspectives on the issue that hadn’t occurred to you before you began writing? Are any of these worth reflecting on further?

Driscoll (2007) What?, So what?, Now what?

Driscoll’s (2007) ‘What?’ model is a straightforward reflective cycle of 3 parts. Evolved from Borton’s (1970) Developmental Framework, it has 3 stages that ask us to consider What?, So what?, and Now what?

Step 1 – What? – involves writing a description of an event or an experience.

Step 2 – So what? – here we reflect on the event or experience and start to analyse selected aspects of it, considering why they were important and how they impacted the whole.

Step 3 – Now what? – a range of proposed action points are devised following the experience, focusing on what has been learned.

Dan is training to be a nurse in elderly care and wants to reflect on the experiences he is gaining on his placement. Dan decides to use the questions in Driscoll’s model to help him to begin to analyse what he is learning.

Step 1 – What?

Today I was observing an experienced community nurse change a dressing on a man’s leg that is badly infected. The man was nervous and became very distressed – he has had dressings replaced regularly and knows that the process is very painful. I felt awful about causing him more pain. The community nurse seemed very calm and spoke to him in a reassuring way. She asked him if he would like some pain relief and he said yes. She sat with him for ten minutes to make sure that the pain relief was working and spoke with him about his grandson’s visit that he was looking forward to at the weekend. This definitely seemed to put him at ease.

Step 2 – So what?

She made it all look so easy. How would I cope if I had to do this? As a nurse I am meant to relieve pain not cause it. She focused on the patient while I focused on myself.

Step 3 – Now what?

I learned a lot from the community nurse. She was very caring but firm. She knew the man’s dressing needed to be changed but did everything in a very calm and kind way. She distracted him and helped him to relax. These are all strategies that I can try in the future if I have to do this. Nursing isn’t only about my clinical skills; my interpersonal skills are vital, as is compassion and understanding for my patients.

Driscoll has formulated some useful questions to help us to use the model effectively, including:

Step 1 – What? – how did I react and what did others do who were involved?

Step 2 – So what? – do I feel troubled in any way, and if so, how?

Step 3 – Now what? – how can I change my approach if I face a similar situation again and what are my main learning points? What different options are there for me?

Write some notes about an experience you have had recently where you feel you have learned a lot. Can you use the stages of Driscoll’s cycle to develop this into a short reflection?

Note: Driscoll’s model is useful when you are new to professional practice and it seems like there is so much to learn. In particular, the question ‘Do I feel troubled in any way?’ is useful as our feelings can act as a prompt to deeper thinking. However, after a while you may find that you want to explore at a more complex level and move on to other approaches. It’s important to allow space for your reflective skills to develop in the same way as your professional skills.

Some small scale reflective questions :

What were 3 things that went well today/this week? How do you know?
What was a situation today/this week where I could have done better? How?
What was your biggest challenge today/this week? How did you overcome it?
What was the predominant feeling you had today/this week? Why?
What made you happy/sad/frustrated/angry/etc today/this week? Can you find some way of having more or less of the identified aspects?

Some larger scale reflective questions :

Am I optimising my time, energy and performance according to my values, goals and objectives?
Am I making the most of opportunities available to me? Am I working effectively within any fixed restrictions? Where there are barriers, am I identifying them and tackling or circumventing them where possible?
Do my values, goals and objectives still align with each other? Is this reflected in how I am spending my time?
Are my goals still the right ones to deliver on my values? Should/Can I refine or revise the strategies I am using for fulfilling my values and goals?

Where you have been

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Reflective Essay Examples

50 best reflective essay examples (+topic samples).

If you have ever read reflective essay examples, you would know that these types of written works examine the writer’s life experiences . When you write a reflective paper example, you write about your own experiences and explore how you’ve changed, grown or developed because of those experiences. There’s no standard format for this essay as it may vary depending on the target audience.

Table of Contents

1 Reflective Essay Examples
2 What is a reflective essay?
3 Reflective Paper Examples
4 Format of reflective essay
5 Creating the outline of reflective essay examples
6 Reflective Paper Samples
7 Tips for writing reflective essay
8 Reflective Essay Samples

What is a reflective essay?

A reflective essay is a type of written work which reflects your own self. Since it’s about yourself, you already have a topic to write about. For reflective essay examples, readers expect you to evaluate a specific part of your life. To do this, you may reflect on emotions, memories, and feelings you’ve experienced at that time.

Since you’re writing reflection essay samples about yourself, make sure that they’re interesting and exciting. This is very important so that your readers don’t get bored with what you’ve written. Reflective essays are very personal thus, they’re a special type of essay. As you write one, you need to reflect, think, and explain.

In the essay, you should demonstrate and describe different feelings or emotions which you’ve felt in the past. These statements breathe life into your essay as your readers start picturing what you’ve written in their minds. Reflective essays are very honest, personal, and emotional, especially those which describe painful experiences.

Reflective Paper Examples

Format of reflective essay

As aforementioned, reflective essay examples don’t have a standard format. They seem easy enough to write but once you’ve sat down to start writing, you may suddenly find the task very challenging! Besides the format, you must think about the life experience you want to write about and remember everything about it.

A reflective paper example is a lot like a personal journal or diary. Of course, the difference is that other people will read your essay. Therefore, you must write it with good structure and coherence. In this regard, reflective essays are a lot like the other types of essays too.

When writing a reflective essay, you will have to examine your own life experiences. The purpose of writing such an essay is to provide yourself with a platform to share your most meaningful life experiences with other people. You can also use it as a way to explore how your experiences have changed you as a person.

You can present reflective writing in different formats. Most of the time though, people use a learning log or a diary entry format. You can use these formats and others. Just make sure that your essay has a good flow and that it’s easy for other readers to understand.

The format to use for your reflection essay samples would depend on your target audience. You can make an academic reflective essay or you can make it as a general and informal piece of writing. If you need to write the essay for a class assignment, follow the format given to you by your teacher.

No matter what format you choose, you may write an essay which:

Focuses on your personal growth Such an essay helps you learn how to evaluate and analyze the experiences you have had in your personal life. This helps promote emotional development and growth. It also helps you understand yourself and your behaviors better.
Focuses on literature For this type of essay, you may have to include references to literature and apply these to your own life experiences. Such essays are commonly given as assignments to students in school.

Creating the outline of reflective essay examples

Before you write your reflective essay examples, you must create an outline for them. Although you’d write about your own life, creating an outline gives structure to your essay to serve as a guide for what you want to write about.

Whether you need to write an essay for school, for a magazine or for any other reason, creating an outline is the very first step. With a good outline, you have a better idea of how your essay will flow from one paragraph to the next all the way to the conclusion.

When creating the outline of your reflective paper example, keep it organized. Develop the outline gradually and put a lot of thought into it. In doing this, you make the writing process much easier. Here is a rundown of the steps involved in the essay-writing process:

Choose a topic (a significant life experience you want to write about)
Gather information
Create an outline
Write a draft
Finalize your essay

Reflective Paper Samples

Tips for writing reflective essay

As you think about the content of your reflection essay samples, remember that the important thing is that such an essay must be highly personal but also engaging to readers. There’s so much more to reflective essays than just writing your story. You must also reflect on your experiences to engage your audiences.

For your starting point, think about the most significant experiences you had in your life. Those which had either a negative or a positive impact on you as a person. If the reflective essay is a school assignment, your professor would probably specify what you must write about. Here are some tips for you for writing your reflective paper example:

Reflection The most important part of writing your reflective essay is the reflective process. Think about the personal experience you want to write about. Focus on what happened, how this experience made you feel, and how it affected your life. Explore your memories and emotions for this part of the process. As you’re recalling and reflecting on your life experience, take a lot of notes . Write down all the details you remember and try to be as clear and as detailed as you possibly can. Take as much time as you need for reflection. You can even close your eyes as you try to remember those experiences vividly. When you’re confident that you have recalled all of the details of your life experience, it’s time to write your essay. To make it more meaningful, try to answer some important questions about your life experience including: Did you learn anything new about yourself because of this experience? Have you grown or developed because of this experience? If so, in what way? Did this experience impact your life positively or negatively? If you had the chance to experience this all over again, would you do anything differently? Why did you behave in such a way at the time of this experience? Did you make the right choices? What are your general thoughts and feelings about this experience? Can you say that you learned from this experience? Did you gain any new perspectives or skills because of this experience? These are “signpost questions” which can help you write a more meaningful essay. These are just some examples, you can also think of your own questions to ask yourself. The point of these questions is to make sure that you think critically and deeply about the experience you’re writing about.
Planning After you’ve reflected on your life experience, it’s time to start planning your essay. When it’s time to start, you might feel as if you’re not adequately prepared even though you’ve done a lot of reflection. This is a normal feeling, especially if you want to create a written piece which people will love reading. To ease your anxiety and doubt, come up with a well-rounded and comprehensive plan. The best way to do this is through an outline. With an outline to guide your writing process, you can come up with an essay that’s more coherent and which has a clear structure. An outline or plan is important for reflective essays. Since you’re writing about an emotionally-charged topic, you might find yourself getting “lost” along the way. This is especially true if you’re writing about a painful experience which still affects you until now. The outline serves as a map for you to keep your thoughts organized. In your outline, make sure to establish all of the fundamental details you wish to include in your essay. This helps you pick out and remove any superfluous information to make it easier to read and understand. Planning the points you want to write about makes it easier for you to stay on point. As such, your writing becomes a lot clearer and your readers can follow your line of thought. An outline also prevents you from missing out any relevant information. It’s very difficult and frustrating to go back after you’ve written the whole essay just to fit in this information! Planning your essay also saves you a lot of time. Coming up with the structure makes you more familiar with your essay even before you start writing it. Thus, you can spend more time writing, revising, and proofreading your essay to make it the best version possible.

Reflective Essay Samples

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Examples of Reflective Writing

Types of reflective writing assignments.

A journal requires you to write weekly entries throughout a semester. May require you to base your reflection on course content.

A learning diary is similar to a journal, but may require group participation. The diary then becomes a place for you to communicate in writing with other group members.

A logbook is often used in disciplines based on experimental work, such as science. You note down or 'log' what you have done. A log gives you an accurate record of a process and helps you reflect on past actions and make better decisions for future actions.

A reflective note is often used in law. A reflective note encourages you to think about your personal reaction to a legal issue raised in a course.

An essay diary can take the form of an annotated bibliography (where you examine sources of evidence you might include in your essay) and a critique (where you reflect on your own writing and research processes).

a peer review usually involves students showing their work to their peers for feedback.

A self-assessment task requires you to comment on your own work.

Some examples of reflective writing

Social science fieldwork report (methods section).

The field notes were written by hand on lined paper. They consisted of jotted notes and mental triggers (personal notes that would remind me of specific things when it came to writing the notes up). I took some direct observational notes recording what I saw where this was relevant to the research questions and, as I was aiming to get a sense of the culture and working environment, I also made researcher inference notes .

I found the note-taking process itself helpful, as it ensured that I listened carefully and decoded information. Not all the information I recorded was relevant but noting what I found informative contributed to my ability to form an overview on re-reading. However, the reliability of jotted notes alone can be questionable. For example, the notes were not a direct transcription of what the subjects said but consisted of pertinent or interesting information.

Rarely did I have time to transcribe a direct quotation, so relied on my own fairly rapid paraphrasing, which risks changing the meaning. Some technical information was difficult to note down accurately . A tape recorder would have been a better, more accurate method. However, one student brought a tape recorder and was asked to switch it off by a participant who was uneasy about her comments being directly recorded. It seems that subjects feel differently about being recorded or photographed (as opposed to observers taking notes), so specific consent should be sought before using these technologies .

Description/ explanation of method.

Includes discipline-specific language

Critical evaluation of method

Conclusion and recommendation based on the writer's experience

Engineering Design Report

Question: Discuss at least two things you learnt or discovered – for example about design or working in groups or the physical world – through participating in the Impromptu Design activities.

Firstly, the most obvious thing that I discovered was the advantage of working as part of a group . I learned that good teamwork is the key to success in design activities when time and resources are limited. As everyone had their own point of view, many different ideas could be produced, and I found the energy of group participation made me feel more energetic about contributing something .

Secondly I discovered that even the simplest things on earth could be turned into something amazing if we put enough creativity and effort into working on them . With the Impromptu Design activities we used some simple materials such as straws, string, and balloons, but were still able to create some 'cool stuff' . I learned that every design has its weaknesses and strengths and working with a group can help discover what they are. We challenged each other's preconceptions about what would and would not work. We could also see the reality of the way changing a design actually affected its performance.

Addresses the assignment question

Reflects on direct experiences

Direct reference to the course activity

The style is relatively informal, yet still uses full sentences.

Relating what was learnt.

Learning Journal (weekly reflection)

Last week's lecture presented the idea that science is the most powerful form of evidence . My position as a student studying both physics and law makes this an important issue for me and one I was thinking about while watching the 'The New Inventors' television program last Tuesday . The two 'inventors' (an odd name considering that, as Smith (2002) says, nobody thinks of things in a vacuum) were accompanied by their marketing people. The conversations were quite contrived, but also funny and enlightening. I realised that the marketing people used a certain form of evidence to persuade the viewers (us?) of the value of the inventions . To them, this value was determined solely by whether something could be bought or sold—in other words, whether something was 'marketable'. In contrast, the inventors seemed quite shy and reluctant to use anything more than technical language, almost as if this was the only evidence required – as if no further explanation was needed.

This difference forced me to reflect on the aims of this course—how communication skills are not generic but differ according to time and place. Like in the 'Research Methodology' textbook discussed in the first lecture, these communication skills are the result of a form of triangulation, which I have made into the following diagram:

...

Description of topic encountered in the course

The author's voice is clear

Introduces 'everyday' life experience

The style is relatively informal, yet still uses full sentences

Makes an explicit link between 'everyday' life and the topic

Brookfield, S 1987, Developing critical thinkers: challenging adults to explore alternative ways of thinking and acting , Open University Press, Milton Keynes.

Mezirow, J 1990, Fostering critical reflection in adulthood: a guide to transformative and emancipatory learning , Jossey-Bass, San Francisco.

Schön, DA 1987, Educating the reflective practitioner , Jossey-Bass. San Francisco.

We thank the students who permitted us to feature examples of their writing.

Prepared by Academic Skills, UNSW. This guide may be distributed or adapted for educational purposes. Full and proper acknowledgement is required.

Essay and assignment writing guide

Essay writing basics
Essay and assignment planning
Answering assignment questions
Editing checklist
Writing a critical review
Annotated bibliography
How do I write reflectively?
Examples of reflective writing
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Reflective Writing examples

Evaluation of project.

In analysing my work, I feel that this project compelled me to find inspiration from so many various sources, subsequently building on my imaginative capacity as well as my practical knowledge. Therefore I feel I have gained and developed many skills in terms of my own personal creativity and development.

Through creating my styling concepts, I not only became inspired by other practitioners, but felt I gradually began to find my own style in terms of composition and construction of narrative. I thoroughly enjoyed constructing the set for my photo shoot and sourcing possible locations as well as sourcing ideas for stylings from markets and museums and just taking in everything around me. Photographically, I was forced to consider and understand technical concepts of shooting in different locations. Technically I did find some difficulties transferring the image from film negative to computer screen, where I went through processes of scanning negatives etc, so next time I would like to improve on this element.

On reflection I feel the photo shoot was successful, in terms of it being well planned and in terms of realisation of my concept. I found the storyboards to be of great assistance on the day of the shoot. Putting my work into context, I do feel it works well as a CD cover. This is mainly due to my constantly keeping in mind the frame of a CD cover when planning and shooting my compositions, in order to allow for cropping. I feel the images also successfully visually represent and evoke the feel and atmosphere of the artist, the zeitgeist and, most importantly, the track.

As a whole in terms of a finished product I feel I fully transferred my original visualisation into a finished image, and feel it reflects many of my research sources from surrealism to psychedelia. I was really pushed to think conceptually and found this project challenging, enjoyable and, most importantly, a significant step in furthering my creativity, and hope this is reflected visually through my journal.

Adapted from Hannah Robinson, FdA Fashion Styling and Photography (LCF)

In the music image project, my aim was to resolve the problems I had in my last project with my accessories. This time, I customised and modified the gas masks and belts and printed some logos on a flag. I also made a mask from a T-shirt and printed an image onto a jacket. This has all come out quite well, but after I had made them, I continued developing the ideas in my head, and realised I could have done some alternative modifications.

It took a long time to create the images for this project. This is because I was dealing with political and historical content. I thought I could create good ideas if I explored them enough, but it was too time consuming, and I became confused when coming up with my own ideas. It was, however, very stimulating and inspiring to do some research on western history and politics.

In the styling section, my ideas for customising and modifying were not perfect, but I was able to achieve a certain amount. I am pleased with the work, and feel encouraged to push myself in the next project. I liked my styling, but found it difficult to make four outfits, because I had to use each garment separately. What I could have done was have put all the garments in one or two outfits only instead of spreading them through all of them.

In relation to the photography, I feel I should have explored more photographers. This would have given me inspiration for the mood, composition, lighting and location. I need to do more research on a daily basis not only for projects but for my visual diaries as well. On the day of the photo shoot, one of the models didn't turn up, so I had to consider everything again on location. From this I learnt that I need to be more responsive and flexible as this is likely to happen again. Choosing which photographs to use was difficult as well, as I had to consider both composition and layout for the cover.

In terms of IT, I really improved. I started using Photoshop about a month ago, and I can now create a quality of work which I am confident about.

Overall, what I discovered from this project is the importance of a schedule. I have to set a proper timetable and follow it. I also need to fully consider things before I actually do them, as otherwise I get lost and lose inspiration. Finally, reflecting on the positive and negative aspects of my project will, I believe, really help me improve myself for the next one.

Adapted from Ryusuke Kase, FdA Fashion Styling and Photography (LCF)

Reflective statement for dissertation

The dissertation process has been an important journey for me in which I have developed my independent learning. It has, however, been challenging at times.

It has been a time consuming process needing much focus and commitment. At first, I thought everything would be straightforward and that I could manage my time, but it was hard to juggle between my part-time work and family commitments. In order to prioritise the dissertation, I took a short period of time out from work and held back from family events.

To keep myself on track I constructed action plans. At the beginning of each week I would make a daily plan of what I hoped to achieve and how I would do it. I then ticked off each task as achieved. This helped me achieve smaller goals within the research. So throughout this process I have learnt to be self-disciplined, organised and become better at time management. These are clearly needed for future employment.

The primary research part was difficult and at times very frustrating. It was hard to find staff in retail companies that were willing to take part, and I did not have enough information. Through a personal contact I was able to interview someone who gave me a much clearer insight into my field of study. I learnt that it is important to test out your questions before actually doing an interview. Next time I would approach key people earlier and also maybe try to vary the research method: a telephone interview may be more successful for very busy people.

I also had to research a variety of sources such as industry journals and key texts. This at first felt overwhelming. My tutor gave me some targeted references and I also asked the library staff for support in accessing the information I required. I learnt that asking for help can be a good thing.

The information itself needed to be interpreted which required critical and analytical skills. I kept having to return to my initial question to avoid missing the point. At times I felt that I was not getting anywhere. I now understand that this is all part of doing research and, over time, I discovered some interesting themes.

Writing up the dissertation was also a challenge. I had to disregard a lot of information that was not entirely relevant to my research question. Also at times the content was vague, and the ideas did not always follow logically. I used Study Support to develop my writing skills, but wished I had approached them for help at an earlier stage, as this would have saved me a considerable amount of stress.

To conclude, the dissertation assignment has improved my confidence in my ability, through producing a lengthy piece of work. I feel it has effectively concluded the academic phase, and I am excited and motivated by the prospect of getting a job in the fashion industry.

Extracts from BA (Hons) Fashion Management students' dissertations (LCF)

Reflective journal - work experience

In a small salon environment such as London Beauty, customer service and communication skills are really important as the clients tend to know the therapist very well and have a close trusting relationship with her. The manager Shelly knows all the clients and talks very easily to them. This is a skill that I find comes very naturally to me and I have a few clients for whom special communication skills were required. They were nervous about some of the treatments. I could reassure them and put them at their ease. For example, a man came into the salon for a facial. It was his first time and was very uncomfortable. I saw this as a challenge and engaged him in conversation as I would with any other client. By the end of the treatment he was very relaxed and planned to come back again soon! I felt proud I had been able to make him feel comfortable.

Something that did not come easily to me was promotion. It was my job to stand outside the spa giving leaflets to people who went past explaining the treatments that were on offer. This is an awkward task as people do not like to be approached by others to sell them things. I was worried I would not be successful. I threw myself into the task and gave out over 100 leaflets and secured 7 bookings! I learnt that sometimes you just have to be enthusiastic and think positively about trying to sell things.

I felt my personal appearance was good throughout my time in the salon. I wore a light amount of make up and had no jewellery on at all. It is important in maintaining a professional appearance as well as the health and safety implications about following the dress code.

My organisational skills have always been a weakness for me and I did not want this to affect my work in the salon. I made sure I was always punctual and any task was completed in the appropriate time.

Overall I think my communication skills and my ability to work on my own initiative are my biggest strengths. I have learnt how to sell the services and also become more organised with my time. One thing I need to do is spend more time thinking about the more complicated treatments. Making a note in my learning journal on a regular basis would have helped me reduce my stress levels, and reminded me of where I was likely to mix up the order of the routine.

Overall, I learnt a great deal on my placement and I am now more determined than ever to qualify as a Beauty Therapist and have my own salon.

Adapted from Geraldine Topping, FdSc Beauty Therapy and Health Studies student (LCF)

Evaluation of work experience

Over the course of the week I examined work as diverse as From the House of the Dead, Demented and Deformed , to the Cunning Little Vixen . I feel this emphasises the importance of drawing as a tool for any designer, and by honing this skill I will feel more confident in expressing my ideas. I am pleased that I chose the Figure in Context as an elective. I have improved my technique and developed more competence with various media, particularly paint, an expressive means of suggesting texture.

Stan Won't Dance has opened up a new area of costume for performance thus far in my experience. I particularly enjoyed the process of examining designs and breaking down the image into practical components that can be sourced and customised to create viable, wearable costumes that must withstand the demands of movement and dance. Working closely with the assistant supervisor has given me practical exposure to the role of costume supervisor in the creative process. It was also satisfying to share these experiences with a member of my class peer group. I have drawn the conclusion that it is a role I would be interested in pursuing during my professional future.

Regarding the overall visual style of the production, I am now aware that I find an alternative approach to costume more stimulating than the conventional approach. I feel that such projects encourage an assistant to use his or her own creativity to a considerable extent, notwithstanding the development of pre-ordained designs.

The daily work schedules were regular, thus I had more time to attend exhibitions, read and draw. These activities have been inspiring and fruitful, and have helped me achieve an enjoyable balance between work, studies and leisure time. In the past I have not taken enough time to reflect on work and its related experiences, so it is a personal progression for me to do so now.

Perhaps one negative aspect of this industry-linked project has been that I have not been intensely involved in any one project. Yet this only serves to confirm my belief that I must be thoroughly engaged by a project with sufficient responsibility in order to feel satisfied by the process. The fragmented nature of this term's projects was partially down to circumstance - the archive did not require an assistant or trainee for the duration. However, the situation has taught me to be more pro-active in the future.

In conclusion, I believe that as a result of this experience, I have gained new perspectives on the roles I would like to pursue, and also on how teams - designers, supervisors, makers - work together to realise a creative vision. I am also more aware of the areas that inspire me, for example, how movements in art history (often symptomatic of social flux) have provoked design, and how the abstract and esoteric can, paradoxically, become material, and make comment on the world in which we live by way of a performance narrative. This is demonstrated by both the work of artist Antony Gormley, and proposed by Off the Wall.

Finally, I feel that I now can apply my research, drawing and academic skills to produce work that will do justice to this new, lucid perspective.

Adapted from a final year, BA (Hons) Costume for Performance, LCF

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It’s getting closer to the Literature exam and you’re probably starting to get more serious about avoiding dropping too many SAC marks! Depending on which order your school does Literature SACs in, you may be currently facing the often feared ‘Creative Response’. Whether you feel beyond excited to finally bring some creative flair to Literature, or you’re totally scared at the thought of creating something new, I wanted to use this blog post to help you achieve at least ten of the marks in this section. That is through the reflective commentary, which you can totally score full marks on if you put in the effort.

The VCAA Literature Study Design determines that students must submit ‘a reflective commentary establishing connections with the original text’. This aspect of the assessment counts for 10 of the 60 marks available for the Creative Response outcome. The study design further denotes that students must

‘reflect critically upon their own responses as they relate to the text, and discuss the purpose context of their creations’.

This allows your schools and teachers to direct in a relatively broad way on how you should form your reflective commentary, and may mean your friends at other schools write theirs in a very different way. In this blog post I will leave you with a suggestion of how I best believe a reflective commentary could be structured to include all important aspects, as well as tips on how to include all of what the study design asks. As I said, these are ten marks that can easily be snatched with just a little bit of hard work and attention to detail, so why not snatch them?

To induce the things needed to be included in the reflective commentary, we can look to the key knowledge and key skills points outlined in the study design:

Key knowledge:

- the point of view, context and form of the original text,

- the ways the central ideas of the original text are represented,

- the features of the original text including ideas, images characters and situations, and the language in which these are expressed,

- techniques used to create, recreate or adapt a text and how they represent particular concerns or attitudes.

Key skills:

- identify elements of construction, context, point of view and form particular to the text, and apply understanding of these in a creative response

- choose stylistically appropriate features including characterisation, setting, narrative, tone and style

- critically reflect on how language choices and literary features from the original text are used in the adaptation

What you’re really trying to do in your reflective commentary is prove to your teacher that you are hitting all these key knowledge and key skills points. As you write, ensure you are discussing how the author uses point of view, context, form, elements of construction and stylistic features in their text. It is than imperative that you describe how you have similarly used such device in your creative response. Ensure that you also discuss how you are involving the ideas and themes of the text in your creative piece, and how you are discussing them further, or exploring them in greater depth. Obviously only talk about those that are relevant to your creative response!

Sample reflective commentary

Having scored a 10/10 in my own reflective commentary, I will provide a structure that can be used to ensure you are including everything you need. I discussed my own reactions to the original text, and described how I wanted to rouse similar reactions in the reader of my creative response.

In your reflective commentary, it can be easier to put everything under subheadings. These are the ones that I used:

-Characterisation

-Literary features (here I chose 7 particular literary features used in my text and discussed how I emulated them)

Under each of these paragraphs, I analysed how the author used such features to create and convey meaning, and discussed how I, in my own piece, drew on her use of them and expanded on her ideas. Here is an example of my ‘Purpose’ paragraph, which will hopefully give you an idea on how you might write your own commentary! My text was Cate Kennedy’s Dark Roots , in particular the short story ‘What Thou and I Did, Till we Loved’.

In my piece, I ultimately attempted to lead the reader to a place of discomfort, faced with a situation that they wish never to be faced with. When I first read What Thou and I Did, Till we Loved (Dark Roots, Cate Kennedy), I simply wished never to be in Rebecca’s position, as I was sobered by the sadness of her demise as she watched her lover fade away. I sought to elicit the same response from the reader, as I aimed to convey the deterioration that both lovers suffer, as well as the loss of communication between them. I also attempted to allow the reader to question the humanity in keep people alive by machines and drugs, and whether it is fair to force people to live an unnatural life. I have sought to explore this even further than What Thou and I Did, Till we Loved bringing in the question of euthanasia and whether we have a right to die as Kyle begs of Max to “kill me” at the end of the piece, and Max concedes that “[he] would if [he] could”. The themes of my piece seeks to explore are the ways of coping with grief, guilt at causing the illness of a loved one, a life with a lack of substance, and the loss of communication due to illness.

Hopefully you’re feeling better about how you might go about completing your creative response, and getting that 10/10 on your reflective commentary!

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So there’s approximately a month to go before the Literature exam. Nervous? Confident? Over it?! You might be thinking that they best way to study up until the exam is to just churn out essays after essays after essays. This is a common misconception, and may even hurt your chances for the exam. You want your essays to be ‘fresh’ with original insight, not stale pieces that sound like you’ve written this a hundred times and you’re getting bored. Here are a few tips on how to study for the exam while still keeping your mind activated about Literature!

Critique critical commentary

Google critical commentary on your text. You might pick up a new insight or perspective that you’ve never thought of. These can help you inform your own original and individual interpretation of the text. It is important to note that while reading critical commentary is incredibly useful in providing ‘clever’ interpretations, examiners are really looking for your own interpretation – not a regurgitated version of other people’s analyses. Rather than passively reading critical commentary, critique it yourself! Acknowledge and file away its good points, but also form your own stance with whether you agree or disagree with that point of view. Ask yourself why that is your perspective. Developing this critical analysis skill is extremely valuable, and will put you in the mindset for the exam to provide your own original interpretation that pushes the boundaries and the envelop e.

Choose random passages and annotate

Close your eyes and pick a random a couple of passages from your text. Photocopy them, print them, however you like, but the most important thing is to spend time annotating them in as much detail as possible. Focus on analysing the language for how the author constructs the text to create meaning. Note sentences that can link to the wider text. This really forces you to analyse the most random passage in the text in extreme detail, which you might have skipped over in class or in your own reading, because it might not have seemed important at the time. Who knows, the exam could throw in a surprise passage that students might not have thought to study in great detail, and you have because you’ve been analysing passages at random – not just the major key events!

Examiner reports and word bank

Look through VCAA examiner reports for sample excerpts from high scoring responses. Highlight words and phrases that sound ‘good’ – and adapt them to use yourself! There’s nothing wrong with drawing inspiration (stealing) from the examiner reports essays… after all they’re there for you to learn from. Key: you’re drawing inspiration from words, not ideas or sentences – otherwise that’s just plagiarism and won’t help at all. Create a word bank of vocabulary that suit your texts, which can be a great prompter when you’re struggling to think of a word that accurately expresses on paper what you want to say in your mind.

Timed conditions

The biggest issue with every literature student in the exam is timing . There’s always so many things you want to write and include, that it is simply not possible to include everything. Time yourself. Practice writing in timed conditions. Be disciplined with your time – going over time for the first essay to include maybe one more good point, is to sacrifice finishing your second essay.

Exams are without a doubt a stressful period of time for all VCE students, and it can be easy to get caught up and overwhelmed with expectations, wanting to prove yourself and balancing the workload of your other exams. Find time to do small things to benefit yourself for the exam without compromising your mental power (after a very long marathon). Good luck and believe in yourself!

In regards to changing subjects once the school year has started: I've done a bit of research and it appears as though the deadline to change from one subject to another is determined by your individual school. Some schools have a deadline of only a couple weeks whereas others stretch it out a little further. Ask your school for exact dates if this is something you’re considering!

Language has many uses which go beyond simple communication. Language can be used to entertain, to convey abstract ideas and to mold one’s perspective. A strong understanding of linguistic features, of words and their connotations can allow one to manipulate their language in order to convey certain ideas and thoughts. This brings us to the topic of face needs. One’s face need is the sense of social value that is experienced during social interactions. There are two types of face needs; positive face needs and negative face needs. Positive face refers to the need to feel accepted and liked by others while negative face describes the will to do what one wants to do with freedom and independence.

In daily conversations and in media, language is used to either appeal to face needs or to avoid meeting face needs. Basic politeness markers are frequently used to appeal to face needs, often subconsciously. Imagine a teacher asks you to pass them the pencil they just dropped. Most likely, they will ask something along the lines of, “are you able to pass me that pencil please?” The teacher’s relationship with you is that of an authoritative nature. Therefore, when asked to pick up the pen, you will almost certainly oblige unless there is a compelling reason not to. While the teacher has technically posed a request or a question, it is a in fact a command in disguise. The teacher has an expectation that you will pick up the pen, however, by framing this command as a question, it appears as though you are being given a choice. This appeals to your negative face needs as you are not being imposed upon to pick up the pen, but are given a choice should you wish to “pick it up”. In situations where interlocutors do not have a very close social distance, linguistic features such are politeness markers, rising intonation and interrogative sentences are used to appeal to negative face needs. If this same situation occurred with a friend, they might say something along the lines of ‘oi, chuck us that pen.’ This is a blatant disregard for negative face needs, but due to the close social distance between you and your close friend, appealing to negative face needs for such small things is unnecessary.

Appealing to negative face is most commonly observed in interactions with strangers or with those who do not have a strongly established relationship. However, appeals to negative face needs can also be observed with close individuals, particularly used to further the relationship by extending its boundary. For example, when asking a big favour from a relatively new friend one will most likely use methods to appeal to negative face needs, using phrases such as, ‘do you mind if,’ ‘would it be possible if,’ ‘could I please ask you a huge favour’. Such phrases do not impose of the individual, allowing them to “choose” whether or not to oblige. Appealing to the negative face demonstrates that one recognizes the other’s freedom and wish to do as they wish.

Appealing to positive face needs occurs through slightly different linguistic and paralinguistic techniques. Compliments, minimal response, eye contact, politeness markers and the use of interrogatives are all ways in which one can appeal to another’s positive face needs. These techniques are very often employed in radio and television interviews. It is the duty of the host to make their guest feel welcome and wanted on the show. Television hosts such as Jimmy Kimmel and Ellen often introduce their celebrity guests by mentioning their achievements, thus making them feel special. They frequently employ interrogatives to display avid interest in their guests. Furthermore, back-channeling and vocal effects such as laughter allow the guests to feel that their presence is welcome and appreciated. Think of this from the perspective host and their social purpose. They want to make their guests feel appreciated to promote their viewership and build solidarity with the guests so they may return on the show.

This is interview is an example of positive face needs where interviewer Rajeev Masand compliments Stanger Things actors Milly Bobby Brown and Noah Schnapp at the beginning of the interview for their show.

Tom Holland on Ellen:

In this example both Tom Holland and Ellen meet one another’s positive face needs. Politically correct language and euphemisms are also another example of appeals to positive face needs. Calling people ‘differently abled’ is done in attempt to avoid discrimination and allow individuals of different abilities to feel equally accepted and welcome. However, this does not always come across as intended. Often politically correct labels are not embraced by the given community as they feel that such labels further alienate them from society. Politically correct labels can act as reminders to such groups that they are considered minority or, they may feel that these labels are a feeble attempt to push aside previous, conflicting history. This is important to note as it demonstrates that appealing to face needs can sometimes be a hit or miss. In everyday conversation, people use cues in attempt to understand the individual they are conversing with and hence alter their language accordingly. They will use these cues to understand how to use language to appeal to the face needs of the other individual. In a context with school friends, there is likely to be less use of politeness markers and politically correct language as the pre-established relationship means there is a mutual understanding the one does not wish to offend. In contrast, the use of language is likely to be very different in transactional conversations, interviews and conversations with an authoritative relationship.

Techniques used to appeal to face needs always come back to the social purpose of the interlocutors and the contextual factors. By understanding the link between these elements, you can form a holistic analysis of face needs. Therefore, when writing about face needs in your exam and sacs, it is vital to be considerate of the context as this impacts how face needs are approached.

Here are some other examples of celebrity interviews where there is evidence of appeals to positive face needs. Watch them carefully and you’ll notice the specific linguistic features used in these interviews to build solidarity with the guests and create engagement with the show. The hosts compliment their guests and frequently employ minimal response to allow the conversation to progress smoothly. There are minimal overlaps as the hosts are cautious not to talk over their guests. You will notice that in certain interviews, when the host and guest are known to one another, appeals to face needs are not adhered, allowing them to strengthen their bond and further audience engagement.

Malala Yousafzai on Ellen:

Eddie Redmayne interview on The Late Show with Stephen Colbert:

Wondering what VCAA examiners might be looking for in a high-scoring essay? Each year, the VCE EAL Examination Reports shed light on some of the features that examiners are looking for in high-scoring responses for the Listening and Language Analysis sections of the EAL exams. Let's go through 5 key points from the reports so that you know how to achieve a 10/10 yourself.

For advice on how you can apply the VCE EAL Examination Reports to strengthen your skills in the listening section, see Tips on EAL Listening .

Tip #1 Analyse How the Overall Argument Was Structured

Let’s take the 2017 VCAA EAL Examination Report as an example:

‘The highest-scoring responses analysed argument use and language in an integrated way. Some responses used a comparative approach that analysed arguments and counter arguments from both texts in the same paragraph. However, only comparatively few responses focused on how the overall argument was structured .’

So how do we write about/analyse ‘how the overall argument was structured’?

To save time during the exam, we can adopt templates that can help us transfer our thoughts into words in a fast and efficient way. You can construct your own templates, and you may want to have various templates for various scenarios or essays. Below, I have provided a sample template and I’ll show you how you can use this template in your own essays.

Sample Template

(AUTHOR)’s manner of argument is proposed in real earnest in an attempt to convince the readers of the validity of his/her proposal of...by first…and then supplying solutions to...(DIFFICULTIES), thus structuring it in a logical and systematic way.

The above template ONLY applies to opinion pieces that satisfy these 2 rules:

The opinion piece commences by presenting the ‘bad effect/consequence/situation’ of the topic
The opinion piece supplies the solution to resolve the ‘bad effect/consequence/situation’ of the topic

For example, say the author, John White, contends that plastic bags should be banned and does so by:

commencing the piece with the fact that plastic bags can travel long distances by wind and water. They litter our landscapes, float around in waterways, and can eventually end up in the oceans, ultimately polluting the ocean and posing a threat to marine animals
then supplies solution to ban plastic bags

When we use our template here, the intro may look like this - note that I’ve bolded the ‘template’ parts so you can clearly see how the template has been used:

John White’s manner of argument, proposed in real earnest in an effect to convince the readers of the validity of his proposal of banning plastic bags by first exposing the deleterious nature of these bags to our environment and natural habitat and then supplying solutions to ban plastic bags, putting it in effect in a logical and systematic way.

Head to Introductions for EAL Language Analysis for more templates and guidance on how to nail your Language Analysis Introduction.

Tip #2 Keep the Listening Answer Succinct

The 2019 VCAA EAL Examination Report states:

‘Students are encouraged to use the key words in the questions as a focus for their listening...Short-answer questions require concise and precise answers. Responses that demonstrated understanding provided what was asked for without including extraneous information .’

Some students tend to add unnecessary information in their answers. Although the answers are correct, they will NOT earn you any extra marks. Listening answers should NOT be a mini essay. Writing irrelevant information will not only waste time but may also compromise the accuracy and overall expression of your response.

Tip #3 Practice Makes Perfect

The examination reports frequently point out that students struggle with identifying and describing the tone and delivery. For example, the 2017 VCAA EAL Examination Report states:

‘Identifying tone and delivery is challenging for students and emphasis on this is needed...Students are encouraged to use the key words in the questions as a focus for their listening’.

The good news is, just like most skills, listening and identifying the tone can both be improved with practice. In fact, VCAA acknowledges the importance of daily practice as well.

‘Students need to develop their critical listening skills both in and outside of the classroom. They are encouraged to listen, in English, to anything that interests them – current affairs, news, documentaries and podcasts can all be useful.’ (2017 VCAA EAL Examination Report)

Practicing listening does not necessarily mean sitting down and doing Section A questions; it can be as simple as talking with classmates, teachers, neighbours, friends from work, church, etc.

Take a look at our EAL Listening Practice and Resources for a comprehensive list of external resources for practicing listening and a step-by-step guide on how to use them!

Tip #4 How To Formulate a Cohesive Response?

VCAA encourages us to write answers that make sense to the reader and are grammatically correct. Make sure you do address, and ONLY address, what the question is asking, because marks will not be rewarded for redundant information.

‘Short answer questions require concise and precise answers. Responses that demonstrated understanding provided what was asked for without including extraneous information . Expression skills need to be sufficiently controlled to convey meaning accurately. ’ ( 2017-2019 VCAA EAL Examination Report )

HINT: This may sound super simple, but a lot of EAL students struggle with it. If you do, you are definitely not alone. Some students seek to use complicated words and/or sentence structures, but we should not compromise clarity over complexity.

Tip #5 Use a Range of Precise Vocabulary

VCAA acknowledges the importance of sophisticated vocabulary. This phrase ‘a nalysis expressed with a range of precise vocabulary’ has been repeatedly used to describe high-scoring essays in the examination reports from 2017 onwards

Below is a list of commonly misspelled, misused and mispronounced words. If you don’t know the meaning of a word, check out Collins Online Dictionary for definitions OR you can use a physical copy of the Collins Dictionary (which you are allowed to bring into the exam and SACs).

Words That Look the Same/Have Super Similar Spelling:

Abroad vs. Aboard
Adapt vs. Adopt vs. Adept
Affect vs. Effect
Altar vs. Alter
Angel vs. Angle
Assent vs. Ascent vs. Accent
Aural vs. Oral
Baron vs. Barren
Beam vs. Bean
Champion vs. Champagne vs. Campaign
Chef vs. Chief
Chore vs. Chord
Cite vs. Site
Compliment vs. Complement
Confirm vs. Conform
Contact vs. Contrast vs. Contract
Contend vs. Content
Context vs. Content
Costume vs. Custom
Counsel vs. Council vs. Consul
Crow vs. Cow vs. Crown vs. Clown
Dairy vs. Diary
Decent vs. Descent vs. Descend
Dessert vs. Desert
Dose vs. Doze
Drawn vs. Draw vs. Drown
Extensive vs. Intensive
Implicit vs. Explicit
In accord with vs. In accordance with
Later vs. Latter
Pray vs. Prey
Precede vs. Proceed
Principal vs. Principle
Sweet vs. Sweat
Quite vs. Quiet

For an overview of the EAL study design plus tips and tricks for reading comprehension, time management and more, check out The Ultimate Guide to EAL .

When did you start your McDonald’s job?

I started at Macca’s when I was fifteen! This meant that by the time Year 12 came around, I was pretty accustomed to balancing work, school and my other commitments.

How did work fit in with school and social life?

I was lucky because I had a good relationship with the management team and my rostering manager in particular. So, I was able to have an open and honest conversation with them about work arrangements for the year and I could trust that the shifts assigned to me would be appropriate for fitting in with all of my other commitments.

How did you organise your workload with your roster manager?

It was pretty straightforward! I had a conversation with my rostering manager about the year and we decided that 10-12 hours would be a manageable amount for me. This ended up being around 2 shifts per week!

Would your social life work around McDonalds?

Definitely! I would usually work Thursday or Friday nights and Saturday mornings. So, this allowed me to see my friends on Saturday nights and Sundays. I would be really strict in not making any commitments (if possible) on Sundays because it was my one day per week to do whatever I felt I needed to alleviate stress and prepare for the week ahead.

What did you do when you had to do more hours than you were comfortable with?

There were a few things I could have done if this happened.

Getting my shifts covered or swapping them for days that worked better for my schedule
Speaking to the management team and if no action was taken, escalating it to a higher level

I’m pretty lucky with where I work so I was always able to trust they would work towards my best interest, especially throughout Year 12!

How did you respond to last-minute plans?

It’s funny you ask, actually! I actually heard some advice that recommended if an opportunity comes up to do something you like with your friends, to take it. The reason being, that often if you try to plan out a time to see friends in advance, they might not be free, so if you can rework your schedule, I’d recommend taking up the offer and then the studying and homework can easily be done at another time. I’m not recommending that you neglect your schoolwork, I’m recommending that you do your schoolwork once you’ve given yourself a couple of hours a week to take care of yourself — it’s so important to prevent burnout!

How did going out help you to be more productive?

I found that if I saw my friends and had a few laughs with them (at an appropriate time!) it would rejuvenate me so much more effectively than taking a 30 minute break at home. Obviously I wouldn’t accept an invitation to go out for dinner with some mates if I was in the middle of completing a practice exam, but, for example if I’d been studying for four hours straight, seeing my friends would be a perfect opportunity to freshen up my mind and relieve some stress.

How would you organise your work hours depending on your study load?

It was pretty simple, actually! I would look at my SAC schedule and other school commitments in my diary and then roster off the days in the lead up to SACs, etc.

How did you manage work during the exam period?

I actually took 6 weeks of annual leave from work in the lead up to, and during exams. But, I didn’t study all the time, despite having a lot of free time. I obviously studied quite a bit, but I also used any spare moments to see friends and do things I liked to alleviate stress and reduce the risk of my impending burnout!

How long after your exams did you start working again?

I went away for about a week and then I started working a few days after I got back.

Do you have any advice on work/study/life balance?

Be honest with yourself, know what works for you and know your limits. The key factor that enabled me to have an effective work/study/life balance was knowing myself and my needs educationally — from experience, I knew how many days I needed to prepare and what I needed to do to prepare for SACs in the most effective ways!

“Once upon a time…”

The fairy tale of Cinderella is a well-known, well-loved and well-ingrained story that was always told to me as a bedtime story. Who could forget the mean-spirited stepsisters who punished and ruined Cinderella’s life to no end? According to the dark Brothers Grimm version, the stepsisters mutilated their feet by cutting off their heels and toes to fit into the infamous shoe, and their eyes were pecked away by birds until they were blinded! It’s definitely one way to send a message to children… don’t be bullies or you’ll be punished. Which is exactly what the Brothers Grimm’s views and values were. Their construction of their fairy tale to send a message of what they viewed as ‘good’ or ‘bad’ is simplistically shown through the writers’ choice in determining the characters’ fate. The evil stepsisters are punished, while Cinderella receives happiness and riches because she remained kind and pure. A clear and very simple example of how texts reflect the beliefs, world views and ethics of the author, which is essentially the author’s views and values!

What are the views and values of a text?

Writers use literature to criticise or endorse social conditions, expressing their own opinions and viewpoints of the world they live in. It is important to remember that each piece of literature is a deliberate construction. Every decision a writer makes reflects their views and values about their culture, morality, politics, gender, class, history or religion. This is implicit within the style and content of the text, rather than in overt statements. This means that the writer’s views and values are always open to interpretation, and possibly even controversial. This is what you (as an astute literature student) must do – interpret the relationship between your text and the ideas it explores and examines, endorses or challenges in the writer’s society.

How do I start?

Consider the following tips:

What does the writer question and critique with their own society? What does this say about the writer’s own views and the values that uphold?
For example, “Jane Austen in Persuasion recognises the binding social conventions of the 19th century as superficial, where they value wealth and status of the utmost priority. She satirises such frivolous values through the microcosmic analysis of the Elliot family.”
The writer’s affirming or critical treatment of individual characters can be a significant clue to what values they approve or disapprove of. What fate do the characters have? Who does the writer punish or reward by the end of the text?
Which characters challenge and critique the social conventions of the day?
Look at the writer’s use of language:
Characterisation
Plot structure
Description
In other words …what are the possible meanings generated by the writer’s choices?
Recognition and use of metalanguage for literary techniques is crucial because you are responding to a work of literature. Within literature ideas, views and values and issues do not exist in a vacuum. They arise out of the writer’s style and create meaning .
How do the writer’s choices make meaning?
How are the writer’s choices intended to affect the reader’s perception of social values?
Weave views and values throughout your close analysis essays, rather than superficially adding a few lines at the conclusion of the essay to indicate the writer’s concerns.
Using the writer’s name frequently will also assist in creating a mindset of analysing the writer’s commentary on society.

Below are some examples from an examiner report of successful and insightful responses reflecting the views and values of the writer:

(Another tip is to go through examiner’s reports and take note of high quality responses, even if they are not the text you’re studying)

When contrasted with the stark, blunt tone of Caesar throughout the play ‘You may see, Lepidus, and henceforth know...’ the richness of Shakespeare’s poetry with regard to his ‘couple so famous’ denotes how the playwright himself ultimately values the heroic age to which his protagonists belong over the machinations of the rising imperial Rome.

It is the word ‘natural’ here through which Mansfield crafts a sharp irony that invites us to rate Edna’s obsession with her own performance.... It is this satiric impulse that also leaps to the fore through the image of Edna, ‘clasping the black book in her fingers as though it were a missal’...the poignant economy of Mansfield’s characteristic style explores her views on the fragility of the human condition .

‘In Cold Blood’ provides a challenging exploration of the value placed on human life. The seemingly pointless murders undermine every concept of morality that reigns in Middle America, the ‘Bible Belt’, as well as the wider community. Capote insinuates his personal abhorrence of the death penalty and the disregard of mental illness in the justice system .

Why are views and values important in literature, and especially for close analysis?

Every year, the examiner reports emphasise how the best close analysis responses were ones that “showed how the text endorsed and reflected the views and values of the writer and were able to weave an understanding of these through the essay” (2013 VCAA Lit examiner report). By analysing HOW the text critiques, challenges or endorses the accepted values of the society in the text, you are demonstrating an understanding of the social and cultural context of the text, thus acknowledging the multifaceted layers that exist within literature. You are identifying the writer’s commentary of humanity through your own interpretation. Bring some insight into your essays!

Introduction

Arguably one of the greatest modern playwrights of our time, Tennessee Williams produced some of the best post-war 1950’s American plays that have now engrained themselves as classics. After the conclusion of the second world war, America was pervaded with hypermasculinity, deep levels of insecurity and a desperate need to regain the pre-war success of the 1920s. During the 1950s, the United States began to regain its economic success and spirits were high as ever; however, this may only have been ostensible. Beneath the surface of such success lurked unshaken expectations on both men and women and deep-rooted bigotry.

In this article, we will get to know how these concepts are explored in ‘Cat on a Hot Tin Roof’ and examine why this text is important in the context of Lit Perspectives and Close Analysis. ‍

Characters Analysis

Brick is too numb to feel much of anything any more; he is a drunk and cold shell of what he once was. Since the death of his friend Skipper, Brick has retreated into solitude and emotional aloofness, and the only emotions that he can express are disgust and boredom. The other characters can only coax an emotional response out of him when they mention Skipper

Maggie is a traditional 1950’s beauty, she is lively, gorgeous and has a deeply sexual presence. She spends the majority of the play trying to get Brick to sleep with her- both to satisfy her own needs, and to allow her to conceive a baby. This which would guarantee her share of the Pollitt family wealth.

Big Daddy, like Brick, gets a lot of undeserved attention and love; this is because he sits upon the Pollitt wealth he built. He worked hard for economic success, and now he wants to enjoy it. He is uninterested in Big Mama and treats her with little affection or respect.

She is an older version of Maggie - more dramatic, needier, having let herself go. She loves her husband unconditionally despite his cruelty and indifference to her. Like Big Daddy, she cannot help but prefer Brick to Gooper because he is so much like Big Daddy.

Brick’s older brother but has lived in his shadow since the day he was born. While Brick got the attention with looks and football, Gooper married into society and became a successful lawyer. But the unfair attention and focus on Brick has made Gooper vengeful and petty, and so it is out of both greed and spite that he actively campaigns for control of Big Daddy’s estate.

Gooper’s wife who has all of his greed and sourness, without any of his justifying history. She taunts Maggie’s lack of motherhood by parading her plethora of children around the house.

Concepts and Concerns

TIP: Concepts and concerns should form the basis of your analysis whether you are doing a close analysis or a literary perspectives essay!

MENDACITY VS TRUTH ‍

The central tension in the play is underscored by mendacity, lying and deception. The repressed truth is constantly on the verge of being unleashed and it is the “inadmissible thing” that pervades the family. The two primary sources of mendacious repression are Brick’s homosexual desires and Big Daddy’s imminent death from cancer. Ironically, it is these two who value integrity and honesty the most.

When Big Daddy finally finds out the truth about his impending death he exclaims: “By all the goddam lies and liars that I have had to put up with, and all the goddam hypocrisy that I lived with all these forty years that we(big mama) been living together”

In a final moment of existential dread and disgust, Brick resignedly claims that “mendacity is a system that we live in. Liquor is one way out and death is another”. These are the fates that are destined for Brick and Big Daddy respectively.

The truth (if there can be such a thing) is that both Brick and Big Daddy are loved so ardently by their partners, but they blinded by their dishonesty to themselves. It is because Brick cannot come to terms with his own sexuality and Big Daddy cannot fathom his inevitable death that lies, and deceit is perpetuated in the text.

MASCULINITY AND HOMOSEXUALITY

Williams himself was gay and lived in a society that constantly repressed and shamed it as a deeply sinful practice and associated it with failed masculinity. Thus, he explores the deep turmoils of homosexuality in the 1950s and its implications on manliness, bigotry and society.

Whilst not stated explicitly, it is implied that Skipper confessed his love to Brick; whilst Brick felt the same way, he knew this would not be accepted by society. Consequently, he shuts Skipper down and later that night, Skipper commits suicide. Brick cannot admit the truth to himself because in his mind “purity” and “homosexuality” are mutually exclusive, due to his own internalized homophobia and even when Big Daddy makes Brick face his desires and the guilt that pervades him; he cannot escape the bigoted societal norms imbued within him

Williams paints an image of distress, pain and grief caused by the prevailing homophobia of the 1950s. Brick is crippled both by his failure as a man and his failure to be true to himself.

THE AMERICAN DREAM

Back in the 1950s, the American Dream was the dream that everyone was expected to aspire for was much more conservative. It included a traditional family with a stay at home mother, hard-working and masculine father, 2-3 children, a home and money, lots of it!

The Pollitt family truly embodied the American Dream. With their self-made fortune, successful sons (though Brick is now a mess) and even grandchildren. In many aspects, Gooper and Mae fulfil the expectations of the American Dream much more than Brick and Maggie do; they have children, success and ambition. They attempt to use this to their advantage in their bid to win over Big Daddy’s estate but even that fails to sway Big Daddy’s favouritism for Brick.

Brick is as resigned and aloof to the idea of wealth and tradition as he is to his wife Maggie. His repressed homosexuality already divorces him from the ingrained social expectation of the American Dream and it disappoints him to pretend to desire the same things his brother Gooper does. This, ironically, only makes him more favoured by his parents.

In a world of strict expectations and immovable bigotry, there is no room for homosexuality, and this disappoints no one more than Brick himself. In his world, the very essence of his being contradicts the dream that everyone is taught to value. Williams asks readers to consider the consequences of such restrictive beliefs, he questions the American dream at a fundamental level by asking: so why do we all have to want the same thing?

MOTHERHOOD AND FEMININITY

What does it mean to be a woman? For Mae, that means being a loving housewife and being able to bear children. In the petty feud for Big Daddy’s will, she insults Maggie’s childless state, she is less of a woman because of it. Of course, the reason Maggie cannot have children is that Brick is unwilling to sleep with her. Again, even though Mae has provided Big Daddy and Big Mama with a plethora of grandchildren, they still prefer Maggie’s young and sensual energy.

Williams attempts to undermine the characteristics that were supposed to define women as feminine through Maggie. Moreover, women were supposed to be passive players in the family, to do their husbands bidding and to be polite and proper at all times. Maggie is none of these things. She is unapologetically sexual, unwaveringly ambitious in her pursuit of the Pollitt family wealth and determined to cement herself as Brick’s partner although she knows of his homosexual desires. In a society where women were not supposed to have dreams let alone pursue them, Maggie is a “cat on a hot tin roof”, chasing her dreams with careless disregard of established hetero norms.

Literary Perspectives

Now we get into the tricky stuff! This is one part of your exam and is the Unit 4 Outcome 1 SAC so it’s important that you get a competent grasp of the task! TIP: Follow this link to get an overview of the literary perspectives task (I’m thinking of linking the ultimate lit perspectives guide here, let me know what you think)

Some prevalent perspectives should jump out at you immediately just by looking at the Concepts and Concerns. Remember that you don’t have to choose just one perspective, it’s more important that you develop an overall interpretation of the text and incorporate the buzzwords that reflect your perspective. Use your perspective/interpretation as a lens to the concepts and concerns mentioned above as a springboard for your analysis

Now we get into the tricky stuff! This is one part of your exam and is the Unit 4 Outcome 1 SAC so you must get a competent grasp of the task! TIP: Follow this link to get an overview of the literary perspectives task (I’m thinking of linking the ultimate lit perspectives guide here, let me know what you think)

Here are some general perspectives that you might want to think about:

Think about the role the women in this text play and how they are portrayed. You have three vastly different women who all reflect the social standards that defined the 1950s in varying degrees.

Maggie does not seem to care much about what Brick wants as much as she cares about her own needs proven when she attempts to force him to do things he doesn’t care much for (pretending he remembered Big Daddy’s birthday or sleeping with her). She stands in diametric opposition to Big Mama and Mae who are both stereotypical women of their times, always forgoing their own desires for their husbands’. In this sense, our sympathy for Maggie only confirms Williams’ notion that women should be able to freely chase their ambitions and break free of restrictive stereotypes.

These societal standards that reinforce traditional gender roles, heterosexuality and the pervasive male gaze form what literary critics call heteronormativity. This is a key notion in feminism and extends this perspective to more than just an analysis of women in society. It also asks us to question how these hetero norms may influence overarching definitions of masculinity. We can see how these hetero norms have forced Brick into an empty cripple whose only clutch is alcohol and the “click” of peace he drinks for.

TIP: Heteronormativity can also be linked to Marxism as it forms part of the superstructure (institutions and culture considered to result from and reflect the economic system underlying society) that perpetuates the belief that men must be the breadwinner to support their housewives and children. In other words, if you are not supporting your family financially, you are not considered a true man.

Some might argue that the central conflict in the play comes down to who will inherent Big Daddy’s wealth after his death and is only inflamed by Brick’s repressed sexuality. The American Dream is literally underscored by the chasing of money!

Consider how the class impacts the tension in the story. Because of their high social status, Brick’s sexuality is only more scandalous. Funnily enough, despite the fact that Maggie knows he does not love her, she could not care less. As I’ve probably hammered in enough by now, she has more regard for the money than Brick (though she does love him). Furthermore, Gooper’s job as a lawyer, in his mind, only further cements him claim to the Pollitt family throne because it pays well and is highly respected.

Psychoanalysis

Pain, trauma, guilt, desire, gaze and the unconscious. All these things come into play when thinking about psychoanalysis. Popularised by Sigmund Freud who believed (and I’m simplifying here) that psychological theories and techniques could help people better understand their unconscious thoughts, feelings and desires. This is turn, would help them explain their behaviours.

The best way to start a psychoanalysis of ‘Cat on a Hot Tin Roof’ is to think about what each character wants, how they are behaving and how their past might influence this. Brick’s homosexuality and the guilt he feels at Skipper’s death is a great place to start. This is also a great way to integrate to touch on other perspectives if you think about the ways in which heteronormativity or social status may have influenced his decisions back then.

Close Analysis

TIP: Just because it’s close analysis, doesn’t mean you can forego an overall interpretation!! Remember the Concepts and Concerns of the author! Here is a link to help you out with more general close analysis advice (again same idea as previous section, to

Some might argue that the central conflict in the play comes down to who will inherit Big Daddy’s wealth after his death and is only inflamed by Brick’s repressed sexuality. The American Dream is underscored by the chasing of money!

Consider how the class impacts the tension in the story. Because of their high social status, Brick’s sexuality is only more scandalous. Funnily enough, even though Maggie knows he does not love her, she could not care less. As I’ve probably hammered in enough by now, she has more regard for the money than Brick (though she does love him). Furthermore, Gooper’s job as a lawyer, in his mind, only further cements him claim to the Pollitt family throne because it pays well and is highly respected.

The best way to start psychoanalysis of ‘Cat on a Hot Tin Roof’ is to think about what each character wants, how they are behaving and how their past might influence this. Brick’s homosexuality and the guilt he feels at Skipper’s death is a great place to start. This is also a great way to integrate to touch on other perspectives if you think about how heteronormativity or social status may have influenced his decisions back then.

TIP: Just because it’s close analysis, doesn’t mean you can forego an overall interpretation!! Remember the Concepts and Concerns of the author! Here is a link to help you out with more general close analysis advice (again same idea as the previous section, to link the ultimate guides)

The close analysis essentially wants you to analyse the nitty-gritty of your text. Demonstrate to VCAA that you understand how language creates meaning and can support the overarching values of the author. Questions of form, structure, language devices and literary techniques all come in to play when thinking about how Tennessee Williams created meaning in the play. Think of yourself as a detective who must find the most forensic examples in supporting your overall perspective. Here are a few things you might want to consider when closely analysing ‘Cat on a Hot Tin Roof’.

The Form – Play

The Play as a form is one of the most distinct types. It is a show for an audience and does not have as much intimacy as a novel. It has stage directions that the audience does not see and even minute punctuation that must be portrayed by actors. It is important that you can demonstrate you understand this!

Different stage directions will impact the audience in a multitude of ways. For example, Williams had detailed ‘Notes for the Designer’ that closely depicted the setting and atmosphere of the play. In it, he detailed the story of “Jack Straw and Peter Ochello, a pair of old bachelors” who were rumoured to be gay. This instantly establishes homosexuality as a backdrop of the play, it is woven into the setting.

Or you might want to analyse the stage directions that constantly punctuate Brick’s dialogue; every time he speaks it is “absently”, “dreamily” or “vaguely”, which further emphasises his cool and aloof nature. This is in contrast to when he speaks about Skipper in which he suddenly becomes defensive; his dialogue graduates from resigned one-liners to profuse emotional rants.

Structure – The Acts, the Setting, characters, timeframe

Whilst the form of a play is unique in itself, there are certain aspects of ‘Cat on a Hot Tin Roof’ that differentiates it from others.

For example, the play in its entirety occurs within one day. This emphasises the extent to which the Pollitt family had already been teetering on the edge of unleashing the secrets of the family. The confirmation of Big Daddy’s death only opens this up further and unwinds the atmosphere of secrecy, denial and mendacity in merely a few hours.

This is only heightened by the fact that the entire play occurs in one room, the “bed-sitting-room” of the plantation home. Therefore, no matter how hard the family tries to escape the truth, the claustrophobia created by having so many of them in one room together acts as a catalyst for the truth to be revealed.

Also, consider how these characters are established! What has been said explicitly and what has been alluded to. For example, it is never explicitly said that Brick is gay or that Big Daddy will die (to his face at least). In some ways, despite the fact that everyone knows the truth, it is still a truth too difficult to bear and speaking it out loud will only confirm what they have been in denial about for so long.

This blog is part of a series of blogs breaking down the 2023-2027 VCE Literature Study design. For in-depth takes on the study design and the new AoS (Developing Interpretations) check out The Ultimate Guide to VCE Literature and A Guide to Developing Interpretations .

Here, we’ll take a deep look into the SAC for Unit 3.2: Developing Interpretations. We’ll be using Margaret Atwood’s 1996 Alias Grace to demonstrate parts A and B of the SAC criteria so you can see the thinking process behind developing interpretations.

‍ The SAC has two parts:

Part A: An initial interpretation of the text’s views and values within its historical, social and cultural context.
Part B: A written response that compares/interweaves and analyses an initial interpretation with a subsequent interpretation, using a key moment from the text.

Your teacher may decide to do them in two separate SACs, Part A after considering the text, and Part B after considering the supplementary reading. Or they may do them together, having you analyse a passage and answer a question just based on your own understanding of the text, and then continuing that analysis by adding the supplementary reading.

Understanding Context

Part A of the Developing Interpretations SAC task involves the text’s 'historical, social and cultural context’, so it is imperative we have an understanding of firstly, the author and their world, and the text and its world.

‍ Alias Grace was published in 1996, close enough to our modern times that we can consider it contemporary literature. On the surface, there is not much to link it directly to the big global events of the 1990s - like the Gulf Wars, the Monica Lewinsky scandal or the uncertainty of the new millennium. Margaret Atwood is Canadian, and the events of Alias Grace also take place in Canada; any criticism of government or cultural issues in the text can then be considered criticisms of Canadian culture, but may also be of Western or Anglo societies at large. It’s also worth keeping in mind Atwood’s track record as a feminist activist who became famous for the feminist intentions in texts like The Handmaid’s Tale (1985) and Cat’s Eye (1988).

The world of Alias Grace is about 150 years prior to the text’s publication. The murder that put Grace in prison occurred in 1843, and Grace died sometime around 1873. Feminism as a socio-political movement did not exist at this time, so any ‘feminist bent’ that Grace or Mary Whitney display is the result of independent dissatisfaction, not the influence of wider cultural forces. The role of psychology is strong in Alias Grace and in the afterword, Atwood notes the increasing academic interest in the mind and subconscious. Whilst we could venture into the specific who’s who of 1850s new world psychological history, it is most important to recognise that there were disparate ideas of how memory is formed and recalled, and that defiant or mentally ill women were often stigmatised and categorised as 'insane', when we would now acknowledge the range of mental health diagnoses and traumatic backgrounds that would better explain certain behaviours. Note also that mental health institutions were tools of a patriarchal system that viewed the internment of women as a means of control over women, regardless of mental illness, leading to the regular and indiscriminate use of procedures like lobotomy or Electro-Convulsive Therapy (ECT) to keep women 'in check'.

Part A of the SAC: An Initial Interpretation

When forming an interpretation of the text, it is necessary to first decide two things. Firstly, you need to recognise the author’s intention and what you think are the primary views and values . Then, you need to find aspects of the text that support your understanding of the text’s primary meaning.

Of all the concepts and ideas in Alias Grace , two are particularly pertinent and stick out to me as a reader. One is memory , the other is sexuality . There are of course other ideas, but these two were the big ones I noted reading the text. Thinking about what you find interesting or core to the text will help you to form an initial interpretation. Once you have the initial ideas, try to expand them into full sentences. To use memory as our example:

‍ Atwood explores the fallibility and role of memory in our understandings of ourselves and our actions, in particular, noting how people subconsciously decide which memories to keep or forget.

See how meaty this sentence is? Even if I can’t quite touch on all of these ideas in a full essay, I have so much I can talk about that it basically makes it impossible to fall short. Now, I want some aspects of the text that help provide through-lines. By this, I mean that I want a smaller part of the text that helps to exemplify my interpretation and that, preferably, would be evident in a passage analysis. I’m someone who finds structure really interesting in texts, so I look at things like form, genre and plot very closely. Alias Grace is really interesting for its use of ‘primary source’ quotes at the start of sections, as well as the fact it has basically no quotation marks to delineate dialogue. Moreover, the fact that Grace’s narration is first-person and that Jordan’s narration is third-person provides ripe territory for analysis. I need to link this to memory, and put it in a sentence:

‍ Atwood’s use of Grace’s first-person narration without quoted dialogue, thus structuring the plot around her speech and remembering, provides a long-form case study in how the psychological process of remembering helps provide understandings of the self.

So, just based on my understanding of the context (1850s psychology and its impact on women) and the world of the text, I am able to determine my initial interpretation: that Alias Grace is about memory and forgetting in the face of trauma and an indeterminate sense of self. This idea is displayed in the structure of the text which relies heavily on displaying thought processes.

Part B of the SAC: The Supplementary Reading

The supplementary reading can be a number of pieces of writing given to you by your teacher. This could be something written by your teacher, an explainer of a literary theory (like Marxism or feminism), or as I’ll be using here, an academic article. Check out our blog on Developing Interpretations which goes into how to read academic articles.

The article I’ve chosen is Margaret Rogerson’s ‘Reading the Patchworks in Alias Grace’ (1998). At the core of Rogerson’s argument is that the recurring motif of sewing and patchwork is a significant indicator of Grace’s identity and her self-expression and that Atwood uses the symbolism of various quilting patterns to reflect the ambiguity of Grace’s character and our understanding of her (since quilting symbols are heavily subjective). Just based on this brief summary of Rogerson’s interpretation, we can start to see how it is somewhat at odds with my initial interpretation (from Part A) - Rogerson isn’t as concerned with memory and psychology, nor am I concerned with symbolism because I focus on structures and narrative.

Rogerson’s article doesn’t necessarily disagree with my interpretation, in fact, both exist alongside each other quite nicely. I would phrase Rogerson’s interpretation as 'running parallel' to my own because they don’t always touch on the same ideas. Recognising where the supplementary reading sits in relation to your own interpretation is important because it helps to break down how to respond to its position and enhance your own interpretation. Try to place it on a scale of ‘total disagreement’ to ‘total agreement’. It will probably be somewhere in the middle.

Self-Reflection and Reinterpretation

Now that I’ve read my supplementary reading and placed it in relation to my initial interpretation, I need to ask myself a few questions, and be honest with myself:

What new information have I learnt from the reading?
What ideas/themes/motifs did I initially ignore?
How do these new ideas and pieces of information challenge my interpretation?
How do these new ideas and pieces of information support my interpretation?
Can I find links between the seemingly challenging aspects of the reading and link them to my initial interpretation?
Can I link specific aspects of my initial interpretation to the theories and ideas presented in the supplementary reading?

Rogerson’s article contained a lot of ideas and information that I had previously glossed over. Significantly, I learnt that 'quilt patterns [...] appear with their names as section headings throughout the text' (p. 8), a theme I hadn’t noticed. Moreover, Rogerson explains the literary and political significance of quilting and patchwork symbolism, drawing attention to the role it played in women’s lives and the inaccessibility of this symbolism to men.

Do these new ideas challenge my interpretation? Not really. Do they fully support my interpretation? Not really, BUT, they do provide a new way of thinking about my initial interpretation. I can link the quilting symbolism to the idea of Grace’s narrative style because Rogerson emphasises that when Grace discusses quilting, she is discussing her own life. In addition, Rogerson notes that 'sections of the novel [are] separate patterns that are to be fitted into a whole quilt' (p. 8) so that 'the reader becomes a quilt maker in the process of interpreting the text' (p.9). The concept of the physical book being a ‘quilt’ supports and extends on my understanding of structure, thus allowing me to further investigate how that structure functions.

The notion of the reader as a ‘quilt maker’ interpreting the text also allows me to consider something else I have ignored in my initial interpretation: self-presentation. I initially took for granted Grace’s investigation into her own mind, and that her novel-length yarn reflects the burgeoning field of psychology. Rogerson emphasises through the quilting work, however, that Grace’s motivations are entirely ambiguous to Jordan, the reader and others, so we have to try to decide if she is actually remembering events, or simply telling a story. At the end of the text, Grace makes her own quilt using cloth given to her or taken from the women of her past, Rogerson posing the question 'does the quilt represent memory, amnesia, or madness?' (p. 21). The result, therefore, is that my initial interpretation does make sense, but with some important new additions to be made.

‍ Atwood’s Alias Grace investigates how individuals relate to their memories through the use of Grace Marks’ speech and interactions with medical psychology, which intend to force her to remember (1). This process of remembering, however, is simultaneously hindered and deepened by Grace’s presentation of self, which wonders into utter performativity, amnesia, and potentially disingenuous motivations for her continued speech (2). Rogerson emphasises Grace’s relationship with the language of patchwork and how this relationship influences her narrative style and remembering, and thus the reader’s ability to fit separate patterns 'into a whole quilt' (p. 8) (3).

This interpretation is significantly more chunky, but that’s because I’m trying to make the nuance of the argument incredibly clear. The first sentence (1) is a reworded version of my initial interpretation with slightly less detail. The second sentence (2) is an elaboration of my previous interpretation that includes ideas gleaned from Rogerson’s article. The final sentence (3) is a brief summary of Rogerson’s method that introduces her work as well as some extra details about Grace’s story-telling and the analysis of readers’ responses.

The key to developing interpretations is self-reflection. Constantly question why you think the things you do, and it will force you to reconsider your interpretation. The supplementary reading is to provide you with a way to self-reflect and another interpretation to respond to. I strongly encourage those looking to do exceptionally in developing interpretations to read widely and around the text you’ve been set. Some of those texts for Alias Grace are in the resources section below.

Further Resources

Rogerson, Margaret. ‘Reading the Patchworks in Alias Grace’ The Journal of Commonwealth Literature 33 (1998): 5-22. https://doi.org/10.1177/002200949803300102

The Ultimate Guide to VCE Literature

VCE Literature Study Design (2023-2027): A Guide to Developing Interpretations

For Alias Grace

Margaret Atwood’s other texts including: Cat’s Eye , The Handmaid’s Tale , and Oryx and Crake.

Glaspell, Susan. Trifles . 1916. Available here. ‍ A play cited in Rogerson’s article, featuring an accused murderess and a quilt. Sound familiar?

Freud, Sigmund. The Interpretation of Dreams . 1899. Available Via Gutenburg ‍ A very dense text on the psychoanalysis of dreams. Useful for its discussions of symbolism as a signifier of psychology

‍ Atwood cites a number of texts in her acknowledgements (p. 543), the most interesting appear as follows:

Moodie, Susanna. Life in the Clearings . 1853

Crabtree, Adam. From Mesmer to Freud: Magnetic Sleep and the Roots of Psychological Healing . 1993.

Brandon, Ruth. The Passion for the Occult in the Nineteenth and Twentieth Centuries . 1983.

How Genre Works

We’re not supposed to judge a book based on its cover, but for some reason, we just can’t help it. Sure, we may not be able to tell if we’re going to enjoy the book, nor can we tell what exactly it’s about, but we can tell the tone, set our expectations, and most importantly, guess at the genre. Look at these three book covers and note how they perfectly show their genres - Sci-Fi, Horror and Life Drama, respectively.

Genre is a way of categorising media. We split books, film and music into genres in order to better talk about them and because humans have a strange desire to sort and categorise things. Within whatever medium, genres display certain structures, characters and tropes that audiences expect from that genre . Audiences like to be able to tell the genre of a text because it’s comfortable. If I go to see a superhero movie I expect wacky costumes, cliche dialogue and a final battle scene that the heroes win - were these expectations not to be met, I would likely be a little bit peeved off.

But why should you care about genre in VCE Literature? It’s not on the study design?

Well, not explicitly. In each AoS of the study design, you must engage with ‘the ways the literary forms, features and language of texts affect the making of meaning’ , and/or ‘the ideas of a text and the ways in which they are presented’ . Genres are a feature of texts and are one of the ways that a text will present its ideas. Horror is the most notable example of a genre that uses its tropes to send a message - It Follows is a horror where the monster stands in for sexually transmitted disease, Carrie uses horror to show the horrors of high school, Frankenstein is a criticism of those who would ‘play god’. In the Literature study design, the horror genre is represented by Bram Stoker’s 1897 masterpiece, Dracula.

For an overview of the Literature study design, check out The Ultimate Guide to VCE Literature .

Dracula + The Gothic

I invite you to think hard about the horror films you’ve seen and to try to place Dracula into our modern view of horror. It’s hard to put Stoker’s vampire on the same stage as the Babadook , Annabelle or even the ‘70s slasher craze. This gives us an incredible opportunity to consider how audiences engaged and continue to engage with genres. In order to analyse genre, it is essential to recognise what the audience’s expectations were of a genre, and how the author has utilised those expectations for their own ends. Let’s consider Dracula in context .

‍ Dracula is a horror novel. But, we usually don’t think about those uptight Victorians reading texts that were designed expressly to scare. The Victorian era was actually one of the golden ages of horror literature though. But, it is distinctly different from our modern understandings of horror as defined by trailblazers like Stephen King. So, why is it different? It is here we must consider the sub-genre. If you have read anything about Dracula , you’ll note that it is referred to as a ‘gothic horror’ . The gothic genre of literature encapsulates some of the 19th century and certainly the Victorian period’s (1837-1901) best literature. Dracula of course belongs to this group, but it blows up around 1818 with Mary Shelly’s Frankenstein . Edgar Allen Poe, with his short stories and poetry, is widely lauded as the ‘Father of American Gothic’, with ‘The Fall of the House of Usher’ published in 1839. Note the dates here. Stoker published Dracula in 1897, a good 79 years after Frankenstein began haunting readers. Which means he had an established and large genre to work with. So, how did Stoker use the gothic in Dracula?

Tropes of the Gothic

1) the gothic monster.

The vampire myth used by Stoker is turned into the quintessential gothic monster. Dracula existed in the Victorian mind alongside Frankestein’s monster, Mr. Hyde, and Poe’s mixture of humans made monstrous and surreal monsters like that in ‘The Masque of the Red Death’. The defining feature of the gothic monster is its role in the story as a representation of something wrong with society, whether it’s increasingly amoral medicinal science, human greed or perverted desire.

2) The Creepy Castle

The creepy castle doesn’t have to be a castle. It can be a mansion, a university or the graveyards of London. The important thing is that the setting of the gothic novel should always be - by default - terrifying and evoke a sense of danger. You can never get comfortable in Dracula’s castle, nor in Seward’s asylum, and neither can the characters.

3) Damsel/s in Distress

For sure an outdated trope, but a constant in the gothic. It’s a quick and simple way to show that the innocence of young women is threatened by a malignant force. In Dracula , look to Mina, Lucy and Mrs. Westenra. But what happens when the damsel saves herself?

4) Omens, Portents, Visions

Visions in dreams? Random wild animals escaping from ships? Ships docking with a completely dead crew? Random changes in the weather? You might be dealing with a gothic villain, or going mad. In either case, Renfield, Dracula, Mina and Jonothan all deal with portents and visions.

And This Is Important Because…

Stoker has followed the predominant tropes of the gothic horror genre. Why is this important for our analysis of Dracula ? The ways in which authors use genre and other stylistic elements like form, voice or plot relate directly to their intentions. If we investigate the particular aspects of Stoker’s use of the gothic, we may better understand the views and values that he is promoting. For instance, let’s take Dracula as the gothic monster. Since the gothic monster is always a way to reflect society back onto itself, how is Stoker doing that? A feminist analysis might take Dracula as a reflection of sexual deviancy, which then ties into his constant threat towards women. A post-colonial analysis might question the foreignness of Dracula, and view him as a part of the intrusiveness of foreigners in English society. Either way, you’re touching on a view or value presented by Stoker, and tying it to an aspect of the gothic genre in a way that conveniently also touches on characterisation.

Let’s complicate things a little more. The ‘Damsel in Distress’ trope is clearly evident in Dracula , but what view or value is Stoker commenting on by its inclusion? The simplest answer is that, by showing that women cannot save themselves, Stoker is saying that women are inherently weak and need to be saved by men. But this answer isn’t sufficient for a number of reasons. Firstly, what are the women weak to? Is it a physical mismatch between the women and Dracula, keeping in mind that Dracula is also stronger than the novel’s men? Or is it a symbolic weakness to some aspect of Dracula’s character, be it sexuality or magic? Secondly, and more importantly, are all the women victimised by Dracula the same? Well, obviously not.

It could very well be argued that Stoker is subverting the ‘Damsel in Distress’ trope by actually giving us a woman who is able to be her own saviour (which is actually becoming a trope in itself nowadays!). The dichotomy between Lucy and Mina is a crucial aspect of the text, and the way that Mina’s character doesn’t quite fit into the ‘Damsel in Distress’ archetype is a major interpretative dilemma. By considering the genre tropes, Lucy is clearly a ‘Damsel in Distress’ who cannot save herself and is unduly victimised by Dracula. It can be argued that her implicit promiscuousness is punished through her murder, but in whatever case, she is distressed and must be saved. Mina, however, has an entirely different view of her distresses. Not only does Mina take on a caring role towards Jonothan - in which Jonothan becomes a ‘Master in Distress’ - she actively supports the attempts to save her and kill Dracula. By compiling the journals, letters and newspaper clippings into the epistolary that we the audience are reading, and using herself as a window into Dracula’s mind through their psychic connection, Mina proves to be a means by which to save herself from her distress. So, the question of what Stoker actually thinks about women is still quite open: Lucy is seemingly punished for her character flaws, which indicates a misogynist view of women’s sexuality, but Mina is praised for her use of masculine qualities like leadership and stoicism. Is Stoker saying women should be more masculine? Less masculine and more traditionally feminine? This entire discussion revolves around how and why the ‘Damsel in Distress’ trope is being followed or subverted.

Using Genre in VCE

Whilst a genre-based analysis (or a structural analysis) can be a fantastic way to open up discussion and leads to important questions about views and values , the way I have presented it may appear to be another useless and long-winded thing you have to try to shove into an essay when you already have to balance so much in Literature! Fear not, because there are a couple of really easy ways to fit genre into essays without taking up loads of space.

Option one is to use a genre trope as the basis of a paragraph. If your essay contention is that…

‍ ‘Stoker presents the dangers of foreign immigration to England at the height of its colonial empire’

…then you can easily write a paragraph discussing that…

‍ ‘Stoker employs the gothic trope of a supernatural monster in Dracula, using this vampire as a stand-in for foreigners in England’.

This paragraph would discuss Dracula’s characterisation, and the settings of Transylvania and London, whilst investigating Stoker’s views on England’s colonialism and race. In a Developing Interpretations or Close Analysis essay, you’ve just touched on several key criteria, including the author’s views and values , your own credible interpretation of the text and how the text presents its messaging (through characterisation and setting). You can do all these things without mentioning genre, but by explicitly using the language of genre analysis you are likely separating yourself from the student next to you - who had a similar idea but described it in a less interesting way. This is the utility of understanding genre, it gives you the words and concepts necessary to improve your writing and interpretation. The ‘Gothic monster’ is an easy way to describe an otherwise GIANT concept.

Another way is to add it to other analyses in passing. Instead of saying “ Dracula presents Lucy and Mina as foils to demonstrate the ways in which modern women’s promiscuity is ultimately harmful”, you can say “the presentation of Lucy and Mina as two ‘damsels in distress’ in dichotomy with each other demonstrates the differing ways in which Victorian women could doom or save themselves” . The latter sentence has not significantly changed the content of the first, still referring to the women’s opposition to each other, but by phrasing it with ‘damsels in distress’ I leave open the possibility of discussing not just Lucy’s promiscuity, but also Mina’s conservative womanhood.

Finally, you need not even mention genre or its tropes in the essay, just use it as a thinking tool. If you go back through the previous section of this blog, you’ll see just how many questions I am asking about the tropes and ideas I am discussing. By using the trope as a jumping-off point for a series of questions, I can develop a nuanced understanding of multiple views and values and the ways in which they interconnect. Take a trope like the ‘creepy castle’ and ask:

“Why would Stoker put Dracula manor in the text?”

“Because it sets up the ‘otherness’ of Dracula.”

“Why do we need to know that Dracula is the other?”

“Because he represents a supernatural foreignness that we need to be scared of.”

“Okay, but why is it right at the start, why is it from Jonothan’s perspective?”

All of these questions offer ways of breaking down the text and they will naturally lead to questions about structure, characterisation and views and values. In doing this, you can start to come up with ways to turn those questions, or the order of those questions into an essay structure. Moreso, this type of questioning is what your teacher, tutors and top-tier Literature students are doing. It is a constant process of asking, answering, reconsidering, reasking and synthesising. And genre is an easy way to start the process.

For an overview of the Literature Study Design as a whole, be sure to check out our Ultimate Guide to VCE Literature .

What’s Changing?

The largest change is that the Literary Perspectives area of study has been removed and replaced with an area of study called ‘Developing Interpretations’. Literary Perspectives introduced you to literary theories like marxism, feminism and post-structuralism. These might still be relevant if your teacher decides to use them, but for the most part, they have been cut.

Developing Interpretations (Unit 3.2) is about differing opinions of texts. You are being asked to develop an interpretation of your text and to use the evidence available to you to support that understanding of the text. This process is difficult, and TBH is something that teachers, tutors and scholars of literature (and humanities) take for granted. It requires understanding the text, its form, its context, the author, the views and values, the aspects of texts and (if that isn’t enough) to be able to understand how they all connect together , before writing an essay that makes your understanding of all of that stuff coherent.

This new AoS also asks you to take your interpretation and consider it alongside another interpretation, because you get to read a supplementary text ! This supplementary text is heavily implied to be a piece of academia. The supplementary reading is supposed to offer an interpretation of the text, and you need to consider how that changes your interpretation. Does it? Was an idea fundamental to your interpretation debunked? Was there something you overlooked? Does the addition of a theoretical framework (like post-colonialism or feminism) impact your understanding?

What Do I Need To Do?

According to the study design, Developing Interpretations involves ‘develop[ing] interpretations of a set text informed by the ideas, views and values of the set text and a supplementary reading’. This means there are two key sections , first is the development of an interpretation, and second is the reconsideration of that initial interpretation. Let’s look at each section in turn:

Developing an Interpretation

2008’s Ironman, directed by John Favreau, is the story of a billionaire weapons dealer who, after a life-altering event, dismantles his weapons-manufacturing business in order to use his genius-level intellect to construct a suit of armour and become a superhero.

Ironman demonstrates the evils of the American war machine whilst showing that moral individuals are capable of redirecting resources and energy into genuine ways of improving people's lives.

Let’s not pretend that Ironman is the pinnacle of modern storytelling. But what we can see in the statement above is an example of an interpretation. We can offer an opposing interpretation that’s a bit more critical:

Ironman demonstrates, falsely, that the altruism of one ‘good guy with a gun’ can compensate for a systemic ravaging of the Middle East by the American colonial war machine.

Both of these interpretations deal with the same text and the same aspects of that text. They both comment on Ironman ’s exploration of weapons-dealing, and the protagonist’s response to that issue. The first interpretation is - arguably - the message the screenwriters, Fergus, Ostby, and Marcum intended for us to take away from the story. The second interpretation is considering the efficacy of that take-home message: Is Ironman actually the good guy, or is there a larger systemic issue at play, beyond the morals of one man?

To come up with an interpretation, you must consider views and values , aspects of texts and the context the text was created in. Aspects of texts like genre and characterisation demonstrate how the author views a certain issue or idea, and these issues or ideas are usually aspects of the author’s context. At this stage of developing an interpretation, VCAA wants you to focus on close analysis of the text, so ask questions about how a certain motif might reveal something about the author’s views and values. Or, how does a minor character relate to a historical figure that is contextually relevant to the text? For an excellent example of such an analysis and interpretation, I highly recommend the Coraline Bug Theory by Karsten Runquist (YouTube).

For an in-depth look at how to combine views and values, textual features, and context, check out LSG’s A Killer Literature Study Guide .

The Supplementary Reading

So, you’ve developed a unique and plausible interpretation of your text using the evidence available to you, the context , and the author’s views and values . At this stage, you might have a SAC where you defend your interpretation. No matter how the SAC is done, after developing the interpretation, you will be given a supplementary reading . This can take multiple forms, being a piece written by your teacher, an ‘explication of a literary theory’ or an academic article. The ‘explication of a literary theory’ basically means a work explaining a literary theory, like Marxism, feminism or post-modernism.

After you have read and considered the supplementary reading in class, you will have to see how your initial interpretation holds up, and either adapt or defend your interpretation in light of the new information. If you’re struggling to rethink your ideas, try these steps:

1) Free your mind, dude. Be open to the possibility that you were wrong. Be willing to abandon ideas that you thought were really interesting. They probably were really interesting and different, but unfortunately, they just might not hold up in light of the new piece.

2) Rebut the article. If your ideas are being completely dunked on by the article, can you dunk on the article? Don’t be egregious, but there may be things where you feel that your argument is stronger, why? What has the author missed about a character or event that actually helps to better support your argument?

3) Make room for nuance. You might have an article that mostly agrees with you but helps you to see where you might have been too absolutist. Sure, the text’s views and values are pretty homophobic, and your supplementary reading agrees, but maybe the text is showing that homophobia in a way you hadn’t initially realised.

Pro Tips for Reading Academic Articles

One of the options for the supplementary reading is academic articles (also known as critical readings/articles/essays). These are the kinds of essays that incredibly well-educated and fancy university people with monocles write, and as such, they can be quite difficult to read, especially if they are new to you. Because academia is likely new to you in Years 11 and 12, we want to give you some pro tips for reading and understanding these articles, which will help you all the way into university!

When you’re first given your supplementary reading, it can be really daunting. The most important thing to remember here is to take it slow. You will not understand it immediately, and no one is expecting you to. Here are some cheat codes to be able to understand academic articles faster.

1) Read the Whole Thing

Front to back. Including and especially the abstract, introduction and conclusion. You will not understand a word, but maybe some things will jump out; nice phrases or sentences that kinda feel like something. It might be as simple as a statement like: ‘Mina Harker not only escapes the fate of the other women: she is also largely responsible for the capture and ultimate destruction of Dracula.’ (Senf 1982, p. 34). This statement isn’t Senf’s entire point in the article, but it does help me to interpret Mina’s character in Dracula .

While you’re reading, look up words you don’t understand and write their meaning in the margin. Whilst some might suggest doing this on a second read, it really makes no difference, so you might as well get it out of the way here.

2) Re-read the Introduction and Conclusions

And read them closely. Where is the author commenting on previous peoples’ work, and when are they making their own argument? The introduction usually does a few things:

1) Introduces the text

2) Does a literature review wherein the author looks at previous works of academia and considers their merits

3) Introduces their main argument and their supporting arguments

The conclusion does what your conclusions should be doing! It restates the core arguments and supporting arguments, connecting them in a way that leads to a clear interpretation.

Reading the intro and conclusion helps you understand the whole piece because it’s the same arguments without all the extraneous wordiness and verboseness of the actual body paragraphs. It lacks some nuance and the logic behind the arguments, but it signposts what the author is actually saying.

3) Try to Summarise the Author’s Interpretation

After reading the article a couple of times and focusing heavily on the intro and conclusion, discuss with your classmates what they got from the piece. Try to state or write down the core argument of the author and the ways they defend that contention. This is a practice that you will do all the way to university, so it’s worth getting some practice in! Most articles use the same structure you do at school, which is an introduction, three arguments and a conclusion. It’s just that those three arguments are a lot more complex and long-winded. If you’re lucky, the author has used subheadings to separate the arguments.

4) Read More Academic Articles

This is a little bit of a cheat, and definitely more effort, but trust me: it pays off . The best Literature students are well-read. Reading fiction (especially the classics) allows you to see how your text fits into the wider literary world. Things like genres, literary movements, historical ideas and pop culture references can only be gleaned from a text if you have the knowledge of other texts: It’s really hard to watch the later Avengers movies without having seen Ironman ! Same goes for Literature. Academic authors do the same thing - How does Dracula compare to Edgar Allen Poe? How does Alias Grace fit into a wider feminist discourse in the late 90s?

Reading more academic articles gives you a way to practice engaging with academia and to repeatedly expose yourself to the language, forms and ways of thinking that are common in academics. If the best Literature students read loads of fiction, imagine what reading loads of university-level academia could do!

The SAC for Developing Interpretations is a little bit weird. It’s worth 50% of Unit 3, but is split into two parts:

Your teacher might do the two parts together, or separately. In any case, Part B will include the use of a passage from the set text that you must engage with. How does the passage help you to interpret the text, and how does that interpretation agree or disagree with the interpretation presented in the supplementary reading? Here are some of the possible ways that your teacher may decide to design the SAC:

1) Part A and Part B are assessed in separate tasks

Part A is assessed after sustained study of the set text. Students are invited to explore a key idea or value in the text and consider how the text has presented and represented that concern or value. They could, for example, explore the ways a text has presented and represented isolation or power or marriage.

Part B is assessed after students consider the supplementary reading. Students revisit the key concern or value through a passage from the set text and provide an enhanced interpretation informed by the supplementary reading.

2) Part A and Part B are assessed as one task

Students are provided with a passage from the set text and a specific question that relates to one of the text’s key ideas. Students engage with a close reading of the passage based on the key idea, offering an interpretation drawn from the language of the text and from the views and values of the text. They then build on that initial interpretation by engaging with the ideas and/or position they have considered through the supplementary reading.

The most difficult part of the SAC for this new AoS is balancing your interpretation, the textual evidence and the alternative interpretation of the supplementary reading. It is vital that if you are doing Literature this year, that you know your 3.2 text like the back of your hand, and that you practice writing loads and loads. It is also worth trying to make your interpretation incredibly specific so that you can go in-depth into one idea, rather than simply skimming over 3 or 4 big ideas.

Check out our Developing Interpretations SAC Guide: Interpreting Alias Grace blog post for more. Even if you're not studying Alias Grace, this blog post will further clarify what to expect from the Developing Interpretation SAC.

Going Forward

I highly recommend that you begin engaging in interpretative and analytical exercises that you can apply to your everyday life. As a Literature student, there is an assumption that you’re interested in Literature (obviously!), film and visual media, history, current affairs and even visual arts. In the wonderful age of the internet there are unlimited free resources that can support your engagement with these fields in interesting ways. I like to say to my Llit students that analysis should be something you can’t turn off - you should be watching TV and disassembling the ways in which Love Island manufactures drama and keeps you engaged. Why does this advertisement make me want to eat KFC? How has this author made me cry after this character’s death? To develop strong interpretations of literature, you need to be cognizant of the history, construction and theories of literature, and so engaging with as many texts as possible supports your ability to recognise things like genre, historical literary and artistic movements and emotionally manipulative language.

These resources should help you see how skilled literary and media critics analyse fictional worlds.

Death of the Author by Lindsay Ellis (YouTube). Discusses authorial intent and whether we can view ‘the art without the artist’. Ellis also has fantastic interpretations of film and TV.

Nerdwriter (YouTube). Likely one of the best examples of closely analysing text. Check out his video on Shakespeare’s Sonnet 116 , and on how Donald Trump and Bernie Sanders answer questions.

literarydevices.net . Literally my favourite website. A database of every imaginable literary device, how they function, and popular examples. Invaluable for the lit student.

Databases. Go to your school library and ask your librarian what Arts and Humanities databases your school has access to. JSTOR, ProQuest and AusLit, are all databases that host the kinds of articles you should be exposing yourself to. If you are tutoring with Lisa’s Study Guides , then your tutor may be able to help you gather resources from some databases.

Film and Television

Pop Culture Detective (YouTube) especially his videos on the Marvel Universe and the status quo , and misogyny in the Big Bang Theory (CW: discusses sexual assault).

Super Position by David Grueber (Article). Referenced in Pop Culture Detective’s MCU episode and interprets the narrative form of the superhero genre.

The Coraline Bug Theory by Karsten Runquist (YouTube). An excellent example of developing an interpretation of a text and using a minor textual element to explore that interpretation.

CineFix (YouTube) especially their “What’s the Difference” and “Top 10” series. Although presenting film ‘for the masses’, their Top 10 lists constantly consider how an idea (like family or cars ) contribute to the messaging of the film.

Let's all be honest here, Year 12 is endlessly tiring. Literature, for all its greatness, can also be endlessly tiring. Along with 3-4 other subjects, sometimes the idea of writing a practice piece, deeply analyzing the language of your text, or doing research into the context, views and values of the author are things you really, really don’t feel like doing.

Although these things are necessary and important, they’re also often difficult, taxing, and possibly not that interesting. Not too long before the Literature exam, my friend and I were texting, both feeling immense stress and guilt because we felt we hadn’t studied enough for the exam, but equally tired and unable to write any practice pieces. I’m sure many of you are very familiar with the paradox of not spending time studying because you are instead spending that time worrying about not studying.

However, there’s really no need to suddenly feel full of stress and anxiety when you have no motivation to do such work for Literature, that’s just wasted energy! Instead, accept that you’re going to have a little break from the serious stuff, and use that energy instead to improve your understanding and knowledge of your text (part of the exam criteria!!).

My friend and I decided we’d meet for coffee, and try and just discuss our exam texts together (Who’s Afraid of Virginia Woolf and Dark Roots).

‘Bring paper and the books’ she texted me ‘I’ve got an idea’. And that idea was...

VCE Literature Charades

How to play:1. Find a friend2. Think a concept, character, quote, theme, literary device or anything really from one of your texts3. Forget about your dignity4. Act it out until your friend guesses5. Swap and repeat.And once people started to stare as we theatrically mimed things like ‘metaphor’ and ‘the albatross’ we decided to tone it down a little bit, leading to the invention of...

VCE Literature Pictionary

How to play:1. Find a friend2. Think of a concept, character, quote, theme, literary device (you get the idea)3. Keep your dignity intact!4. Start drawing the idea until your friend eventually guesses (warning: could lead to many failed attempts at drawing ‘foreshadowing’)5. Swap and repeat.

So I know this seems ridiculous but I swear, without even realizing it you’re getting to know your text so much better. There’ll be that moment in the exam room when all you’re thinking is ‘what on earth is that quote’, and suddenly you’ll remember how you’re friend fell off her chair trying to mime it. Either way, it’s a much more valuable use of time than worrying about not studying, especially because you’ll spend most of the time laughing.

If you’re alone, and you really don’t feel like studying for literature, but you still kind of have to study for literature… don’t despair! Find a place in your house where you wont be disturbed (or disturb anyone) and pretend you’re running an information session on your text. I used to record endless minutes of myself rambling about all different facets of my text, with no comprehensible structure, just trying to say and explain everything I knew about it. I would delete them almost straight away, but trust me, taking on the role of a teacher can be very fun, and when no ones watching, you can really just go for it. Things are much more likely to stay in your memory when you’ve explained them aloud, so you’ll be super prepared for your SACS!

Of course, it is beyond important to make sure you write as many practice pieces as you think you need to, and to work on tasks that may at times be ‘boring’, but if you want to avoid burning out try making studying a little fun!

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Essay Papers Writing Online

A journey of self-discovery through the written word.

In the realm of writing, reflection is a powerful tool that allows writers to delve deep into their thoughts, emotions, and experiences. Reflective essays serve as a platform for introspection and self-discovery, enabling individuals to explore their innermost feelings and perspectives on a particular topic or event. Through the art of reflection, writers can examine their past actions, analyze their growth, and gain valuable insights that contribute to personal and professional development.

The process of writing a reflective essay involves more than just recounting events; it requires a thoughtful examination of one’s thoughts and feelings surrounding those events. By articulating their thoughts in a structured and coherent manner, writers can gain clarity, insight, and understanding of their experiences. This introspective exercise not only enhances self-awareness but also encourages critical thinking, empathy, and emotional intelligence.

As writers navigate the intricate terrain of reflection, they embark on a journey of self-exploration and self-expression. Through the written word, individuals can articulate their innermost thoughts, fears, joys, and struggles, creating a narrative that is both personal and universal. By sharing their reflections with others, writers foster dialogue, connection, and understanding, creating a unique space for empathy, growth, and solidarity.

Understanding Reflective Writing

Reflective writing is a form of writing that allows individuals to explore their thoughts, feelings, and experiences. It involves looking back on past events or situations and analyzing them to gain insight and understanding. Reflective writing is often used in academic settings to encourage students to think critically and reflect on their learning process.

When engaging in reflective writing, it is important to be honest and open about your experiences. You should consider how you felt at the time, what you learned from the experience, and how it has influenced your thinking or behavior. Reflective writing can help you gain a deeper understanding of yourself and your personal growth.

What is Reflective Writing?

Reflective writing is a form of personal, introspective writing that explores and analyzes thoughts, experiences, and emotions. It involves looking back on a particular event or experience, reflecting on how it affected you, and considering what you’ve learned or gained from it. Reflective writing often involves a deep level of self-awareness and critical thinking.

Through reflective writing, individuals can gain insight into themselves, their actions, and their relationships. It can be a powerful tool for personal growth, self-discovery, and learning. Reflective writing can be therapeutic, helping individuals make sense of their experiences and emotions.

Benefits of Reflective Essay

A reflective essay offers numerous benefits for writers and readers alike. Here are some key advantages of writing a reflective essay:

Self-awareness: Reflective essays encourage introspection and self-reflection, leading to a deeper understanding of oneself and one’s experiences.
Critical thinking: Writing reflectively requires critical analysis of events and ideas, fostering critical thinking skills.
Empathy: Reflective essays often involve exploring emotions and perspectives, enhancing empathy and understanding towards others.
Personal growth: By reflecting on past experiences, individuals can identify areas for personal growth and development.
Improved writing skills: Engaging in reflective writing helps writers enhance their storytelling and communication abilities.
Enhanced problem-solving: Reflective essays can help individuals identify patterns and lessons learned, aiding in problem-solving and decision-making.

Overall, the act of writing a reflective essay can lead to increased self-awareness, personal growth, and improved communication skills.

Personal Growth and Development

Reflective writing allows for personal growth and development by providing a space for self-exploration and introspection. Through the process of reflecting on our experiences, thoughts, and emotions, we gain a deeper understanding of ourselves and the world around us.

By engaging in reflective writing, we can identify patterns in our behavior, uncover hidden motivations, and gain insights into our strengths and weaknesses. This self-awareness is essential for personal growth, as it enables us to make informed choices and take intentional action towards our goals.

Moreover, reflective writing encourages us to learn from our experiences and mistakes, fostering a growth mindset that embraces challenges and setbacks as opportunities for learning and development. It helps us develop resilience, adaptability, and emotional intelligence, all of which are crucial for personal growth and success.

In conclusion, personal growth and development are central to the practice of reflective writing, as it allows us to cultivate self-awareness, learn from our experiences, and navigate life’s challenges with wisdom and resilience.

Steps to Writing a Reflective Essay

Step 1: Select a Topic

Choose a topic that reflects on your personal experiences or emotions that you wish to explore and reflect upon.

Step 2: Brainstorm Ideas

Reflect on the topic and jot down key points, memories, and emotions that you want to include in your essay.

Step 3: Create an Outline

Organize your thoughts and ideas into an outline to structure your essay. Include an introduction, body paragraphs, and a conclusion.

Step 4: Write the Introduction

Start with an engaging introduction that captures the reader’s attention and introduces the topic of your reflection.

Step 5: Develop the Body Paragraphs

Elaborate on the key points and experiences in the body paragraphs. Include concrete examples and details to support your reflections.

Step 6: Reflect on the Experience

Reflect on the significance of your experiences and emotions. Analyze how they have impacted you and what you have learned from them.

Step 7: Write the Conclusion

Summarize your reflections and insights in the conclusion. Reflect on how the experience has shaped your thoughts and actions.

Step 8: Revise and Edit

Review your reflective essay, revise for clarity and coherence, and edit for grammar and punctuation errors.

Step 9: Seek Feedback

Share your reflective essay with peers, instructors, or mentors for feedback and suggestions for improvement.

Step 10: Finalize Your Essay

Make final revisions based on feedback and polish your reflective essay for a compelling and insightful piece of writing.

Choosing a Topic and Brainstorming

When starting a reflective essay, the first step is to choose a topic that resonates with you and allows for introspection. Consider events, experiences, or emotions that have had a significant impact on you. Reflect on moments of growth, challenges overcome, or lessons learned.

Once you have selected a topic, start brainstorming to generate ideas for your essay. Jot down key points, memories, and thoughts related to your chosen topic. Consider how the experience made you feel, what you learned from it, and how it shaped your perspective.

Brainstorming allows you to explore different angles and details of your chosen topic, helping you to delve deeper into your reflections and craft a well-rounded essay that captures the essence of your thoughts and emotions.

Structuring a Reflective Essay

When structuring a reflective essay, it is important to carefully outline the different components to ensure a clear and cohesive piece of writing. Here are some key elements to consider:

1. Introduction: Begin your essay with an engaging introduction that sets the stage for your reflection. Provide some context for the experience or event you will be reflecting on.

2. Body: The body of your essay should include detailed reflections on the experience. Share your thoughts, feelings, and insights on the situation, and provide examples to support your reflections.

3. Analysis: After sharing your reflections, take some time to analyze the experience. Consider what you have learned, how it has impacted you, and what changes it has brought about in your thinking or behavior.

4. Conclusion: Conclude your essay by summarizing your key reflections and insights. Reflect on the significance of the experience and any lessons you have learned. Leave the reader with a final thought or reflection.

By following these guidelines, you can create a structured and thought-provoking reflective essay that effectively communicates your reflections and insights.

Reflective Essay Examples

Here are some examples of reflective essays:

Example 1: Reflecting on my first year of college and the lessons I’ve learned
Example 2: Exploring the impact of a personal challenge on my growth and development
Example 3: Reflecting on a life-changing experience that shaped my perspective

These examples provide insight into the reflective essay process and can inspire you to explore your own experiences through writing.

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Creative Reflection Technique: Everyone Wins When Students Map their Learning

Inside: A meaningful end-of-year reflection technique for older students that combines the power of student-led learning with brain-based associations…

Ever wish you could just find a rainbow that will lead you all the way to a real pot of gold? If we’re speaking in metaphors, you may be in luck. When it comes to teaching and learning, we all want students to “do the work.” Yes, they should be taking charge of their learning! But…how?

Year mapping is a powerful reflection technique that highlights a whole slew of power-house education skills.

collaboration
critical thinking
connections

So, if you’re in search of creative reflection techniques where students are driving the critical thinking bus, you’ll want all the year mapping details: What? Why? How? In this post, we’re going to dive in!

If you find that you are ready to start playing with this activity but are short on time to prep, you can find my starter kit here .

WHAT IS YEAR MAPPING?

Year mapping is a blissful mixture of some things you probably already know about! Imagine a combination of one pagers , sketchnotes , and concept maps…without the limitation of a single page. I first learned about the general concept of year mapping from brain-based teaching experts Donna Wilson and Marcus Conyers who share that the practice helps students to see and celebrate what they’re learned in your class.

Intrigued, I set to work with figuring out what year mapping means to me and creating scaffolding materials I felt students may need to get started. In doing so, my brain was swirling with inspiration and ideas, and I started to well up with excitement. Done well, I thought, this could really be a reflection game changer!

For me, year mapping is an activity that requires students to reflect on everything they have learned in the class! Students work with peers or individually to identify big takeaways, key learning points, and make connections between overarching topics of the class. (You can choose the topics, students can pick, or you can select some together.)

WHY HAVE STUDENTS MAP THEIR LEARNING?

Ever wonder if your teaching is clear? If you are curious whether students can make connections between units or learning standards, this creative reflection activity will give you valuable feedback to analyze.

For instance, can students explain the relationship between reading like writer and writing like a reader? Can they draw parallels between sentence structure and pacing techniques? Do they see how language elements and vocabulary impact an author’s style?

As students map their connections, they solidify their understanding of concepts, unearth the magic of how all parts of the course are interconnected, and even extend learning to life outside of school. (Ex. – Why is the writing process an important workplace skill?)

Due to the open-ended nature of this end of year activity, there are many access points for students of all readiness levels. That means it’s allows for efficient and practical differentiation! Plus, it really can be adapted to any occasion and format.

Another fabulous detail? YOU, the teacher, are free to confer with students, coach them through their review session, and fill in learning gaps where necessary.

Look how much brain-based connections are emphasized with this reflection technique!

Year mapping - a powerful creative reflection technique for older students!

HOW IT WORKS

Learning maps are visual representations of learning. When we ask students to create maps of their learning, we are, to some degree, putting them in the shoes of the teacher.

Think about it. What do you do when you sit down at the beginning of the year with your curriculum? Most likely…identify learning standards, group them into lessons or units that are related in content, and figure out how to draw connections between them. Part of this process is scaffolding skills. We teach parts of speech before sentence structure, and we teach story elements before theme. They are building blocks.

This is higher-level thinking!

Once students have the “topics” they will map, they go through a very similar process. Except…theirs is a reflective activity toward the end of the semester or year instead of a planning session at the beginning.

Students truly get to be creative because they really can arrange the topics on their “maps” in any way they desire, as long as they can show meaningful connections .

Think…spokes on a wheel, threads on a spider web, stops on a highway, or rungs of a ladder. Some may choose to use a line graph for their year, showing the points where writing, reading, grammar, and vocabulary intersected for them. Others may opt for books on a shelf and group them by genres that represent standards. What about a treasure map that moves from Unit 1 all the way to the final Unit? X marks the spot!

Creative thinkers will latch on to the visual aspect of the brainstorming stage. Working with partners and using graphic organizers can help to make the process less abstract for students.

INTRODUCING YEAR MAPS TO STUDENTS

First, students should identify the knowledge, skills, and big ideas they should include in their maps.

Once your students have identified their topics, they’ll be staring at…a blank paper. To complete year mapping, students really can use any medium they want. Consider some of the possibilities:

an infographic
a colorful mural
a set of linked Slides where the first slide links them all together
a physical road map on two sheets of paper – (I have found only one 8.5 x 11 is not enough room)

Regardless of the final product, I recommend having students do some brainstorming. You may want to give them directions, like this:

Organize categories…

Use the blank paper or sticky notes in front of you to begin thinking about how each of your topics is related to others on the list. It would be helpful to first create some categories . One example would be to organize topics by unit. What learning targets did we accomplish during our short story unit? Many of you probably recall we worked on analyzing story elements. In one category, you may include strategies for analyzing characterization, plot, and setting. (It may help to brainstorm some possibilities together on the board.)

Make connections…

You have all demonstrated that you can analyze a short story and identify the theme, but now I want to see your creativity at work! As you reflect on what you have learned this school year, try to map as many connections as possible between learning targets within and across units of study. How does grammar help us write? How does being an observant reader help us with writing? Can analyzing story elements help us to be strong writers? You can use the graphic organizers to help you put ideas together. This will be your brain on paper!

Choose your format…

Once you have a basic idea of how you want to proceed, you’ll want to choose your medium . Would it make most sense to represent your learning digitally or on paper? What size or how many pages would be appropriate to show a vast spread of learning? (Discuss the advantages and limitations of each.)

Remember your goal…

Your goal? Reflect on your year of learning and make as many powerful associations between lessons as possible! Show me what you know! Don’t forget to make revisions frequently! Add, subtract, combine, and simplify until you are happy.

There’s so much opportunity for students to use as much or as little scaffolding as possible with year mapping. Students who are ready for a challenge can push themselves to make more symbolic, higher-level connections, while students who need scaffolding can use graphic organizers to help them visualize where to put information.

So let’s consider what each step of this reflection technique might look like in the classroom.

Students find brainstorming pages helpful for pre-mapping . However, one size doesn’t usually fit all. So, you can offer some options and have students pick the one that fits their categories best. I like to provide a couple of basic graphic organizers because it helps students to understand what I mean by “categories” of learning. Offering a blank option is convenient for abstract thinkers.

Year mapping graphic organizers for middle and high school

Next, students organize their ideas into a more purposeful arrangemen t. You can show them a variety of options, and let those be springboards for creativity. You can provide organizers or have students spend some time researching flow chart style organization for inspiration. Sticky notes work, too!

Encourage students to think about how they can show connections between important ideas and emphasize learning. Students can add arrows, shapes, and colors. This is usually one of the biggest coaching opportunities as you confer with students. Once students grasp the idea of how to categorize their learning, we can encourage them to get out of the “silo” mode. Those categories are connected to the larger picture… how ?

Digital year mapping example; creative reflection activity

Year maps can be digital (like the examples pictured above), or they can be print (my personal favorite!). It really doesn’t hurt to give students the choice if you have the means for them to complete the creative reflection either way.

When students complete year maps digitally or on paper, it’s important to stress that typically more than one page or one slide is needed to truly be comprehensive.

While the examples pictured so far have been for English Language Arts, this reflection technique really can be powerful in any subject area. See the example below, which was created by a ninth-grade math student.

$Year mapping math example; end of year creative reflection on learning$

FOR BEST RESULTS, ADD WRITING

You may find that adding a writing reflection deepens students’ thought process. Students can reflect on the effort they put into the class, on the parts of the course that were most rewarding and challenging, and on their contribution to the greater body of learning.

By including a writing component, students are encouraged to articulate the connections they made as well as identify areas where they could grow more. Naturally, this reflection process can lead to goal setting .

Set students up for productive written reflection by crafting questions that will lead them toward evaluating their learning and their work ethic. A thoughtfully designed written component has the potential to lead students to their best thinking.

For this reflection technique, I do provide content suggestions with a rubric , but I’m often pleasantly surprised with what students come up with on their own!

The reflective writing assignment should not lead to mounds of grading! Yes, students should always strive to be producing their best quality work, but for this assignment, I only recommend assessing ideas (if anything).

Engaging reflective writing assignment for the end of the year

OTHER CONSIDERATIONS

Collaborating.

If possible, working together on year mapping will provide more perspectives and associations, deepening the creative reflection process. From the brainstorming step to categorizing and emphasizing key ideas, students push one another’s thinking to new spaces.

Before asking students to create a map of their year, it may be helpful to show them some examples and ask them to evaluate the strengths and limitations of each.

Do the examples show clarity of ideas? Are the connections strong? Does the creator include enough high-quality examples and inter-lesson connections?

Having students walk through this evaluation process will make them more cognizant of the depth of their own thinking.

Experimenting

Like one pagers , hexagonal thinking, mind maps, and any other assignment that feels abstract and fuzzy at the outset, we as teachers will be able to lead our students through the process more effectively if we complete the work first! Before trying this reflection technique with students, I experimented with year mapping myself. In doing so, I realized I didn’t like what I came up with first.

Rough draft of creative reflection year map

ASSESSING THE MAPS

Year mapping can be as low-key or as formal as you’d like. If you’re looking for a meaningful, creative reflection technique to prepare students for final exams, you probably don’t need to assess them. Likewise, if you just want a window into students’ learning from the year… (Did they make the connections you wanted them to? Have they really reached deep thinking about the standards? Where might lessons have not been as effective as possible?)… you probably don’t need to grade them.

However, if you’re using the year maps as a culminating project, I recommend using a rubric . You can identify categories and create proficiency scales with students, or you can define the success criteria yourself and discuss them with students while evaluating examples.

For the best results, coaching students throughout the planning, drafting, and revising process is the most valuable feedback you can provide them in terms of assessment. As you encourage them to make connections they haven’t, think deeper, and clarify ideas, students will have time to adjust and do the work they hadn’t yet completed.

SHARING THE MAPS

Of course, one of the best ways to finish year mapping is to share the maps! Celebrate learning by having students display their maps or share highlights (favorite parts, most challenging learning experiences, and etcetera). Depending on your time constraints, this can be formal or a gallery walk style in which students have their work displayed, and peers walk around, leaving feedback. (Praises, questions, and ideas are helpful ways to guide peer to peer feedback.)

Year mapping is the perfect end of the year activity for reflection and review ! Of course, you can use this same concept at the end of a unit to make connections between smaller time segments as well. Students can complete this activity in any amount of time, but the less time they have, the fewer connections they will make.

When students map their learning, everyone wins. Collaboration , critical thinking , and brain-based learning take center stage with this end-of-year reflection technique. End the school year meaningfully with learning maps !

STUDENT TESTIMONIAL:

“It was a great way to mentally assess the year. It not only helped me reflect on my own performance as a student but also helped me review the different topics that we studied throughout the year. When I was creating my map, I was unintentionally giving myself a brief refresher course that I will remember long after the individual lessons are forgotten. It was helpful to recap my ninth-grade learning before moving on to tenth grade. I know I will need these skills! This was a fresh way to remember the year and connect all of the dots in ways that I wouldn’t have noticed before.” – Elise, Freshman

RELATED RESOURCE:

If you are loving this reflection technique but don’t have the time to to put the scaffolding together, this starter kit will help you make it happen.

Year mapping is a creative reflection activity that prompts students to make connections between everything they've learned in a course.

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What Is Reflective Writing?

Suraj and Simon are two high school students who had to team up for a class project. Within a few…

Suraj and Simon are two high school students who had to team up for a class project. Within a few weeks of working together, both of them realized that they have differing views about the project and can’t collaborate together. They communicate this with their teacher and the teacher asks them to reflect on the past few weeks—identify the challenges and write down the pain points that led them to their decision.

In this scenario, the teacher tries to help both Suraj and Simon out by encouraging them to practice self-reflection. An essential workplace skill, self-reflection is fundamental to our growth and development. Reflective writing is a great way to rewind your life and look at it from a different angle.

Meaning Of Reflective Writing

The process of reflective writing, importance of reflective writing at work.

Before we look at the various meanings and examples of reflective writing, let’s understand what the term ‘reflection’ stands for. At its simplest, reflection refers to a mental process that helps in processing and articulating events from the past. It’s a careful consideration of our thoughts and beliefs as we assess our assumptions and reactions to a certain event. Thanks to reflection, we’re able to process emotions and act and move forward in a thoughtful way.

Reflective writing requires you to analyze, describe and evaluate past situations. By evaluating experiences, you’re able to develop new insights that are instrumental to developing new outlooks. Recollecting instances from your past and writing them down is a fruitful way of examining your response to an event. Thinking about how it affected your life and how you could do things differently are the cornerstones of self-improvement.

Here are a few examples of reflective writing in everyday situations:

Self-review or peer reviews

Feedback about a program, reflective journal or log at work, the process of reflective writing.

As we’ve already established, reflective writing is a mental process involving contemplation and consideration. Before we look at the process involved in reflection, let’s look at the factors that influence your reflective writing style.

Why are you writing it?

Are others going to read it, how do you feel about writing, what are the emotions you’re experiencing, how capable are you of writing reflectively.

Now that you’ve considered multiple factors, let’s look at the important focus areas when it comes to reflective writing.

Description

Provides information about what you’re reflecting on—it can be a personal experience or a topic.

Interpretation

You need to focus on the event, idea or analysis that you feel is most important. For example, identifying whether your previous job experience was good or bad.

Without takeaways, your reflective writing piece remains incomplete. Understand what you’ve learned and what you’re going to focus on, going forward.

Reflecting on work experiences is crucial as it helps us think about the realities of our work environment and where our strengths and weaknesses lie. In addition to identifying personal areas of growth, it helps us develop career ideas. For example, interviewers often ask job seekers questions such as ‘where would you like to see yourself in five years?’ Reflective writing helps in crafting answers and seeking out information that tells us where our interests, passions and values lie.

If you’re preparing for your next job interview, use this reflective writing format as a template.

<Introduction: Talk about why you were part of the event, the daily activities associated with it and the relevant experience you gained.>

<Conclusion: End your reflection with an explanation about how the past experience was. Talk about how it helped you and how it contributed to your professional development.>

Everyone has their own style of writing and that’s the best part about it. Having your unique writing style adds flavor, especially when it comes to self-reflection. If you want to sharpen your writing skills and deliver your thoughts with clarity, turn to Harappa’s Writing Proficiently course. This online writing course will help you structure your thoughts, polish your writing style and teach you to write clearly, concisely and compellingly. The Pyramid Principle in particular will help you present key points of messages upfront with supporting evidence. Discover how to tell a story with every communication you draft!

Explore topics such as What are Written Communication Skills, Different Types of Writing Styles , Examples of Descriptive Writing , What is Narrative Writing , Common Persuasive Writing Techniques & The Importance Of Expository Writing and learn to draft well-crafted messages to convey your ideas and intentions.

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Pride and poetry, according to emilia phillips.

Posted on June 25, 2024

Person stands at a podium with a mic in a bookstore and addresses a seated crowd.

On a dreary Thursday night in February, a group gathered at Scuppernong Books in downtown Greensboro for a reading of a new collection of poetry by Emilia Phillips . Phillips had just released their fifth collection of poetry, entitled “Nonbinary Bird of Paradise,” but this was no typical book reading.

Phillips gathered UNCG students and alumni to read original works and selected text that inspired their latest poems. All in attendance raved about how the reading was a celebration of voices and art and the flow of inspiration. For Phillips, all of this is intertwined.

An Artist Spreads Their Wings

A UNCG professor since 2017, Phillips is an associate professor of creative writing where they teach poetry workshops and serve as core poetry faculty for the Masters of Fine Art in Creative Writing . Phillips also has cross-appointments in the Women’s, Gender, and Sexuality Studies and English departments teaching the Queer Poetry and Poetics class and the Women’s Health and Bodies class to undergraduates.

Being a poet, a teacher, and a voice for the LGBTQIA+ community is all part of the creative process for Phillips. “I can’t teach poetry unless I’m writing it and vice versa,” she says. “My constant dialogue with students informs my work.”

Book cover for Nonbinary Bird of Paradise with an illustration of birds nesting with flowers and a snake striking from inside the nest.

“Nonbinary Bird of Paradise” is a prime example of Phillips’ exploratory style of poetry, but this latest collection focuses on gender and the ways cultural, religious and mythological narratives support heterosexuality as “the norm”.

In “Nonbinary Bird of Paradise,” Phillips’ challenge of compulsory heterosexuality cuts right to the chase. The first section includes twelve poems in the voice of Eve from the Bible. It imagines if Eve wasn’t born straight and was never desiring of Adam but had no other choices of partners.

“My writing is definitely informed by my own worldview, experience, gender journey and sexuality,” says Phillips, who was raised in Chattanooga, Tennessee. “I couldn’t have written the Eve sequence without getting to a certain point of my own reflections and self-work, but I was nervous when the book came out because it does deal so explicitly with sex and gender and sexuality.”

The poem that inspired the book’s title is also extremely personal. “It’s a love poem for my partner,” Phillips explains. “I imagined if I was a bird of paradise, how would I woo my partner without the fancy plumage.”

Phillips admits that most of their poetry is part autobiographical and part creative, but its fiction label opens doors for creative freedom, a principle they encourage in the classroom as well.

Birds of a Feather Writing Together

Phillips’ classes provide a safe space for building art and students appreciate the sense of community they find at UNCG’s English department.

“Emilia prioritizes community not only in the classroom but outside of it too,” second-year MFA student Liz Bruce explains. “We are constantly sharing resources and opportunities and celebrating each other.”

Student stands at a podium and reads for a group at a book store.

Recent MFA graduate Kay Zeiss is a private practice therapist working with adults who have experienced trauma. They are particularly dialed into using writing to process trauma. Self-identifying as genderqueer and nonbinary, Zeiss was particularly interested in working under Phillips’ mentorship and thrived in the department.

“My goal isn’t to become this famous writer,” Zeiss confesses. “I just hope my writing can be of service to someone. Folks are really interested in being able to articulate their experience and find language for something that they didn’t have before. There’s a community and compassion there that I want to help facilitate.”

Attracting creative minds like this to UNCG is exactly what Phillips had in mind when they joined the English department in 2017. Establishing a close-knit community within a larger campus community, which serves minorities and has historically been a safe place for LGBTQIA+ youth, provided the perfect environment for Phillips’ poetry to take root.

“Having representation in the classroom and also having representation in my work out in the world is very important to me,” Phillips says.

Artistic Reflections

This high regard for representation and community made it natural for Phillips to invite students to share inspirational text at their book reading. “My students are among the most important people in my life,” they said. “Including them made it really festive.”

“I’ve been to multiple readings at Scuppernong and this one was definitely different in that there was a huge crowd of people there to celebrate,” said Bruce, who read “[Poem about Naomi; unsent]” by Rachel Mennies at Phillips’ book reading.

Zeiss read an original poem publicly for the first time at Phillips’ reading. “Hymnal to Transqueer Futures” reflects on grief following the death of Nex Benedict and ponders hope for the future of nonbinary and transqueer children. Zeiss dedicated it to Maddie Poole, another writer in attendance. “I was so honored to be a part of this group,” they said. “It was very tender and sweet to have other people in the MFA program that I care about in this line-up of incredible poets. Reading my poem felt like an offering to the community.”

Student stands at a poem and reads to a group at Scuppernong Books.

Bruce, and others who participated in the event, felt similarly grateful to be a part of Phillips’ unveiling of “Nonbinary Bird of Paradise.”

“Because of Emilia’s decision to platform multiple voices and multiple authors, they recognize that writing isn’t created in a vacuum,” Bruce says. “It was a celebration of the community as much as the book, because the community influenced the making of the book in so many ways.”

UNCG has nothing but pride for communities like Emilia Phillips’ that bring art into the world to spur curiosity and impart understanding. We celebrate this during Pride month, as we do throughout the year.

Story by Becky Deakins, University Communications. Photography courtesy of Felipe Troncoso

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COMMENTS

PDF WRITING YOUR CRITICAL REFLECTION
Priscilla Morris. Writing reflectively develops your awareness of how you created a poem, story, script or piece of creative non-fiction. It deepens your understanding of your writing process and acknowledges the literary influences that fed into and shaped your writing. It's a myth that poems and stories are created in a burst of inspiration ...
10 Unique and Creative Reflection Techniques & Lessons for the
3. Model your own reflection. I take the opportunity to model my learning and my reflecting whenever possible. After an activity or lesson, I will model my own reflection for students. I will also let students see when I make a mistake, so I can express what I have learned from this.
What Is Reflective Writing? (Explained W/ 20+ Examples)
Reflective writing is a personal exploration of experiences, analyzing thoughts, feelings, and learnings to gain insights. It involves critical thinking, deep analysis, and focuses on personal growth through structured reflection on past events. In this guide, you'll learn everything you need to know about reflective writing — with lots of ...
Writing a good reflective commentary
Give examples of what you changed and why. Use quotations from your own work when discussing what you've changed, but be brief: just a pertinent sentence or phrase. ... "Creative Writing and Critical Reflective Commentary." was the only recent book I could find. It was really helpful to me It has an example in it and what else to include ...
Creative Writing: Reflective Journaling
A reflective journal is similar to a diary in that we document our experiences. However, reflective journaling goes deeper than diary writing; we use it to gain deeper understanding of our experiences rather than simply document them. Reflective journaling is a form of creative writing that allows us to practice self-reflection, self ...
What Is Reflective Writing? (07 Best Tips, Types & Examples)
Examples. Examples of reflective writing include personal journal entries, reflective essays for academic assignments, ... Creative writing is the celestial dance of words, an art form that transcends the ordinary to forge literary constellations that illuminate the human experience. At its core, creative writing is a cosmic exploration of ...
How To Write A Reflection Statement
A piece of creative writing written in response to a text that has been studied in class. For example, this might be an adaptation or a scene written from another character's perspective. ... Note down what you think will be the order for presenting your reflection. For example, you may want to start with your structural decisions before ...
How to Write a Reflection Paper in 5 Steps (plus Template and Sample
Use these 5 tips to write a thoughtful and insightful reflection paper. 1. Answer key questions. To write a reflection paper, you need to be able to observe your own thoughts and reactions to the material you've been given. A good way to start is by answering a series of key questions. For example:
Reflective Writing Guide
Reflection is: a form of personal response to experiences, situations, events or new information. a 'processing' phase where thinking and learning take place. There is neither a right nor a wrong way of reflective thinking, there are just questions to explore. Figure 1 shows that the reflective thinking process starts with you.
Reflective writing
Reflective writing gives you an opportunity to think deeply about something you've learned or an experience you've had. Watch the video below for a quick introduction to reflective writing. The video includes an example of reflecting on practice, but the approach is equally useful when reflecting on theory.
Reflective Essay Examples
Seeing reflective essay examples can help you understand how to accomplish a reflective essay writing assignment. View examples of reflective essays. ... Reflective writing is a form of creative writing where you examine an experience or situation through self-reflection. Through the course of creating the reflective paper, you describe ...
Reflective writing: Examples & exercises
There are many ways to produce reflection in writing. Try using these examples to kick-start your reflective writing. Open each drop-down to see a different reflective writing example and exercise. ... Reflective writing can take the shape of dialogue and be structured as a conversation with different aspects of yourself. We all have multiple ...
50 Best Reflective Essay Examples (+Topic Samples)
A reflective essay is a type of written work which reflects your own self. Since it's about yourself, you already have a topic to write about. For reflective essay examples, readers expect you to evaluate a specific part of your life. To do this, you may reflect on emotions, memories, and feelings you've experienced at that time.
Tips on writing creative reflections
Tips on writing creative reflections. October 28, 2019 in Announcements, Creativity, activity, service ... Last year, for example, during a three-day trek through the Apennines CAS trip, we held afternoon labs to teach students how to use different modes of reflection, such as quotes, drawings and haikus - three-line poems that represent an ...
Examples of Reflective Writing
We thank the students who permitted us to feature examples of their writing. Prepared by Academic Skills, UNSW. This guide may be distributed or adapted for educational purposes. Full and proper acknowledgement is required. Learn more about the different types & examples of reflective writing including journal, learning diary, peer review and more.
Visual Directions
Reflective Writing examples Evaluation of project. ... Working closely with the assistant supervisor has given me practical exposure to the role of costume supervisor in the creative process. It was also satisfying to share these experiences with a member of my class peer group. I have drawn the conclusion that it is a role I would be ...
Score 10/10 on the reflective commentary
Having scored a 10/10 in my own reflective commentary, I will provide a structure that can be used to ensure you are including everything you need. I discussed my own reactions to the original text, and described how I wanted to rouse similar reactions in the reader of my creative response. In your reflective commentary, it can be easier to put ...
Exploring the Art of Reflection: A Writing Reflective Essay
Steps to Writing a Reflective Essay. Step 1: Select a Topic. Choose a topic that reflects on your personal experiences or emotions that you wish to explore and reflect upon. Step 2: Brainstorm Ideas. Reflect on the topic and jot down key points, memories, and emotions that you want to include in your essay.
Creative Reflection Technique: Everyone Wins When Students Map their
Looking for a creative reflection technique that involves community, critical thinking, and writing? ... While the examples pictured so far have been for English Language Arts, this reflection technique really can be powerful in any subject area. ... You may find that adding a writing reflection deepens students' thought process. Students can ...
Reflective Writing
Here are a few examples of reflective writing in everyday situations: Self-review or peer reviews; Feedback about a program; Reflective journal or log at work; The Process Of Reflective Writing. As we've already established, reflective writing is a mental process involving contemplation and consideration. Before we look at the process ...
PDF Creative Writing
als for writing. Creative writing professors use these reflective pieces to better understand you as a writer as well as to understand how the pieces you wrote throughout the t. volved.AudienceTypically, your professor is your. rimary audience. However, other audiences might include your classmates, readers of a portfolio of your wo.
My Reflection in Creative Writing
My Reflection In Creative Writing - Free download as Word Doc (.doc / .docx), PDF File (.pdf), Text File (.txt) or read online for free. The student learned a lot about creative writing through their class. They discovered that poetry does not need to rhyme and realized creating stories and poems is challenging. The class taught various writing techniques, helped the student express themselves ...
Reflection Paper regarding on Creative Writing
This is great as it gives off a nice reflection as to what creative writing is all about. It is a magical, magical day. my reflection creative writing we. Skip to document. University; ... even the simplest way, social sciences are applicable. An example is when a lover leaves another, we would come up with the question ''why'' and ...
Pride and Poetry, According to Emilia Phillips
Emilia Phillips, professor of creative writing in the English department, published their fifth collection of poems this year and unveiled it at a book reading that celebrated the community of students and artists who inspire Phillips' work. ... "Nonbinary Bird of Paradise" is a prime example of Phillips' exploratory style of poetry, but ...

What Is Reflective Writing? (Explained W/ 20+ Examples)

What Is Reflective Writing (Long Description)?

Types of Reflective Writing

Journaling – The Daily Reflection

Learning Logs – The Educational Tracker

Critical Incident Journals – The Turning Point

Project Diaries – The Project Chronicle

Portfolios – The Comprehensive Showcase

Peer Reviews – The Collaborative Insight

Personal Development Plans – The Future Blueprint

Reflective Essays – The Structured Analysis

Reflective Letters – The Personal Correspondence

Blogs – The Public Journal

What Are the Key Features of Reflective Writing?

What Is the Structure of Reflective Writing?

How Do You Start Reflective Writing?

Reflective Writing Toolkit

Final Thoughts: What Is Reflective Writing?

Writing a good reflective commentary

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What Is Reflective Writing? (07 Best Tips, Types & Examples)

What Is Reflective Writing?

Introduction

Description

Understanding Reflective Writing

Origins and Evolution

Types and Forms of Reflective Writing

Personal Reflections

Academic Reflections

Professional Reflections

Techniques for Effective Reflective Writing

Self-Reflection Strategies

Narrative Techniques

Critical Analysis and Evaluation

Benefits and Purposes of Reflective Writing

Personal Growth and Self-Development

Enhancing Learning and Critical Thinking Skills

Applications of Reflective Writing

Education and Pedagogy

Challenges and Considerations in Reflective Writing

Overcoming Resistance to Self-Reflection

Dealing with Emotional Vulnerability

Ethical and Confidentiality Issues

Case Studies and Examples

Future Directions and Innovations in Reflective Writing

Frequently Asked Questions (FAQ) about What Is Reflective Writing?

What are the benefits of reflective writing?

How does reflective writing differ from other types of writing?

What are some common techniques used in reflective writing?

Where is reflective writing commonly used?

How can I get started with reflective writing?

Is there a right or wrong way to do reflective writing?

How can I use reflective writing to improve my personal or professional life?

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