Chapter 6; Creating

Texts
Elements of an 'A' level response
• Offers clearly developed and sustained ideas.
• Respond directly to the question, stimulus, or prompt and address the required
syllabus concepts.
• Cater for distinct purpose and audience.
• Demonstrate sustained voice.
• Conform to the appropriate conventions of form and genre, or experiment with
these for specific effect.
• Make innovative and imaginative use of language features.
• Use strategies for planning, drafting, editing and proof reading.
• Use accurate spelling, punctuation, syntax, and meta language.

Creative responses to your studied texts

Adapting the text
You may alter a texts form for a different mode / medium. For instance, changing a short
story into a screen play.

Transforming the text

We can transform a text in three ways:
• Change the point of view or voice: for instance, changing the main narrator to a
minor character.
• Explore the gaps and silences in the text: for example, bringing more attention to
a skimmed over plot line.
• Change the genre: for instance, changing a tragic story into a romantic comedy.
Creative responses to prompt
Question structure
• Command words: Words such as create, compose, construct, and write.
• Concept words: These point to syllabus concepts such as perspective, audience,
genre, representation.
• Condition words: These place limitations on your composition such as limiting the
form of the text, the opening of the narrative must..., incorporate the following quote...,
accompany the stimulus image.
• Critical words: These add nuance to the questions such as subvert a genre or offer a
controversial opinion.

Responding to questions or instructions

The most straightforward creative writing prompts. The typically more open-ended nature
of these questions can be difficult to interpret, so it is important to solidify your response.

Responding to quotes
When faced with a quote you must consider it thoroughly. You must make sure you clearly
understand not just its literal meaning, but its implications. If a question requires you to
include the quote, it is also important to structure your whole text around the quote, and
make sure it gets implemented smoothly.

Responding to images
Use visual analysis to consider all aspects of the image. Try to understand its symbolic
value more than just it is surface level meaning. We can also go meta; we may write a story
about someone who took the image as a photograph. If we build a world within this image,
we must use the setting of the image as the same setting our story takes place in.
Catering for a purpose and audience
Purpose
Generally, you will have one MAIN and specific purpose such as … persuading the rich to
care about the poor. Purposes have two elements, tje message you want to convey, and the
response you want to generate. It's important to ask the following questions:
• Which form would best fit my purpose?
• How should I structure my text to fit my purpose.
• What content in my text could fulfil my purpose?

Potential purposes:
• To entertain
• To persuade
• To interpret
• To inform
• To imagine
• To satirise
• To speculate
• To reflect

Audience
The key to engage your audience is to know them well. It's not very often that a text
appeals to everyone, each text may be filled with even a little bit of bias that may not appeal
to certain people. An easy trick is to write a story with your own attitudes in mind, as long
as you are consistent with the message and reinforce it then technically it works, as you are
your audience.
To consider your audience ask these questions:
• What is the context of my audience. Age, gender, economic class, cultural
background ext...
• How much background knowledge would the audience have on topics present in the
text?
• What are their values and attitudes? Am I reinforcing these or challenging them?
• What kind of voice would connect to my audience.
 • What kind of content is likely to interest, persuade, or entertain my audience?
• What language is appropriate / accessible for this audience?
• What forms of text are my audience more likely to view.

Shaping a text for purpose and audience

Language
• Register and tone
• Jargon
• Complexity of diction and syntax
• Specific language features
Structure
• Engaging openings and endings
• Complexity of ideas / arguments
• Appropriate genre / form
• Organisational structure
Content
• Choice of evidence and examples
• Beliefs and ideologies
• Values and attitudes
• Selection of detail
Perspective
• Relationship with audience
• Viewpoint
• Voice
• Context of culture and situation
Consider: Where is my audience now? > Where do I want them to be? > How will I get them
there?

Choosing a form
Each form comes with its own conventions. There are several different considerations
when choosing a form to write.
 • Is a form specified or limited by the question or task?
• Is there a requirement to write an imaginative, persuasive, or interpretive text?
• What is my purpose for this text?
• Who is my audience?
• What is the context of the task?
Ensure that you are thoroughly familiar with the features of the form before you start to
write. e.g. Don't write a screenplay without knowing its conventions!

Writing from a specific perspective

A perspective is a viewpoint informed by a particular context. We can either write from our
perspective or a persona to portray in your text. It's important to consider the contextual
background behind the perspective. Consider the following:
• Personal context, (Age, Gender, ext.)
• Education, experiences or qualifications related to topic.
• Values, attitudes and beliefs held regarding the topic.
• The situational context in which your text responds.
When composing a text, the perspective you adopt will shape features such as:
• Representations of your subject matter.
• The voice you construct.
• The beliefs, values, and attitudes you present.
• The content you include, foreground, and / or omit.

Developing a voice
Voice is reflective of a writers personality. The texts perspective can be either us as a
writer, or a fictional persona. This is the difference between Authorial voice and
Narrative voice. It is important to have a voice be authentic and engaging. Voice is
conducted through many elements such as:
• Diction or lexical choice - the vocabulary used by the individual.
• Intonation - the changes in tone that reflects emphasis and emotion.
• Rhythm - pace and flow.
• Idiolect - use of language unique to the particular individual.
These are only some of the devices that shape voice.
Narrative voice
When your narrator is a character it's important to identify their personality. Determining
the perspective form which your narrator observes is essential to the development of an
appropriate and authentic voice. An extreme and exaggerated voice is easier to define.

Authorial voice
The key to developing your own authorial voice is to practice its portrayal. Read your past
material and ask questions such as:
• Is this what I sound like?
• Is this true to how I feel?
• Is this something I would read?
Below are tips for developing your voice:
• Describe yourself in 5 adjectives, how can you convey this in your writing?
• List your favourite writers, how would you describe their voices?
• What motivates you? What values do you uphold? What do you see as the most
important qualities?
• Free-write frequently - write what comes to mind.
• Record yourself speak and transcribe yourself and look for specific patterns.
It's important to recognise that your voice can change with circumstance. For instance, in
stressful situations your voice may become more disconnected or anxious.

Tone
Tone refers to the mood or emotion evident within the voice of the text. It reflects the
attitude of the writer towards the subject matter. For the most part diction forms tone,
however sentence structure and the selection of details also reveal the writer’s tone.

Authenticity
Authenticity is a key aspect of an engaging voice. You need to convince the audience of your
voice. An authentic voice is more easily achieved when you have background knowledge on
the voice you're trying to portray, write what you know.
Creating imaginative texts
Developing a narrative
Developing a good narrative requires connecting plot, character, themes in a way that
maintains your readers interest while also exploring an idea.

Conventional narrative structure

The exposition
The Trigger: The protagonist should have a trigger such as a character flaw, a value, or
past trauma. Giving your character a trigger will make them more credible and believable.
The dilemma: The dilemma must pose a problem for your main character or at least a
problem the reader can see even if the character is not aware. Your character must have
choices for how to approach the dilemma.

Rising action
The setback: At some point before the climax a setback may create more tension. As a
result of this setback new qualities should arise in your character whether positive or
negative.

Climax
The possibility of failure: The climax is the final test of the character, the protagonist
learnt something from their previous setback and now they are ready to face the
antagonist. The climax should result from the the natural progress of the character. The
possibility of failure is what brings the suspense into the climax, you can also shock your
reader by subverting the structure and having the protagonist fail.

The resolution
The aftermath: The revolution should tie up any themes and plots. There should be an
opportunity for your character to reflect or for their consequences to become realised. If a
narrative is set up well a resolution can be implied.

Unconventional narrative structure

Ambiguous resolution
It is not clear what exactly happened at the climax. Ambiguity must be purposeful, such as
unsettling the audience, reflecting a chaotic reality, to imply that the conflicts are still
outgoing.
The compact narrative
Useful in an examination setting. Four part narrative:
1. The Hook: Engage reader by beginning with action
2. Backfill: Provide the background detail that lead to the opening scene, through
flashback, dialogue, or character recollection.
3. Rising action: Develop the conflict and increase tension.
4. Resolution: Being your story to a satisfying climax / ambiguous ending.

The epistolary narrative

A popular form of fiction in the 18th century. Epistolary narrative is constructed through
different letters sent between characters. Modern epistolary can be constructed through
emails, diary entrances, text messages and other forms.

Begin at the end

Experiment with structure by beginning with your ending and slowly add detail into how
the ending took place.

Developing complex characters

Characters must engage the reader to avoid falling flat. Character must make readers
become invested in them, but they also should be believable. Characters can become more
developed through:
• Help your reader picture your character: Drip-feed details to your reader on how
your character looks / dresses / moves/ acts. Do this in a way that is natural and
grounded.
• Acknowledge your characters flaws: Nobody is perfect, make sure your
characters flaws are clear even if not clearly expressed. Don't have your character
be a Mary Sue!
• Consider your characters backstory: You won't share all this information with the
reader, but even unshared elements of their backstory can help you characterise
them.
• Identify your character's motivations: Portraying your characters motivations
can make them more three dimensional and more believable.
• Include idiosyncratic behaviours that add to your characters realness: Adding
seeming pointless habits of your character can help add realness to your character,
e.g. chewing their nails when nervous.
• Develop your characters interior life: Reveal what they are thinking and feeling.
• Consider how other characters react to the character: This can be more
revealing to the characters own actions which may mask their true nature.
 • Characters must grow through a text: Typically, over the course of the story
something must change within a character, or have them remain the same and make
a point on their lack of growth.

Experimenting with characters

• Unexpected narrator: Focalizing your narrative through an unexpected character
that may not be the centre of the actual ongoing event.
• Experimenting with second-person pov: This can be tricky but can cause more
emersion, it's important to not give these characters any characteristics that could
conflict with the audiences engagement.
• Morally ambiguous character: Creating an anti hero protagonist can be engaging,
especially if the character is not fully characterised as one - making the readers
conflicted if they should be routing for this character or not.

Creating vivid imagery

• Use sensory details: Don't just rely on sight, also consider touch, scent, listening,
and taste.
• Use interesting verbs and nouns: Creates an impact and adds precise detail.
• Use figurative language sparingly: Using too many device / focusing on one device
can detract from the quality and effectiveness of your writing.
• Focus on little details: Provide enough general information to give the reader the
gist of an image and then focus on some specific details to engage the reader.
• Carefully consider the connotations: Make sure the meaning of the descriptive
language isn't misrepresented.

Experimenting with syntax

• Stream of consciousness: Mimic the non-linear nature of thought, sentences may
be incomplete and topics may jump between each other.
• Sentence fragments: Using fragments of one or two words can be effective at
heightened tension.
• Compounding phrases: Adding several phrases to a sentence can add a lyrical
quality to texts.

Creating persuasive texts

Structuring an argument
Writers of persuasive texts must carefully construct their arguments in order to position
their audience to accept their point of view.
Placement of the main contention
Stated at the beginning: An upfront declaration in the opening statement or even the title
can convey the writers sense of conviction.
Stated at the end: A contention in the final paragraph can create the appearance that the
writer was careful with a more open minded and broader approach.
Repeated: A writer may state their contention several times, they might even link
supported points to their contention throughout the text.
Implied: The contention is implied rather than explicitly stated.

Effective openings
• Writer may begin with information about a case then move to a discussion on the
underlying principles and consequences.
• Beginning with an anecdote or a reference to their own experience can make them
appear relatable.
• Alternatively, a writer may begin with a discussion on broader ideas underpinning
their contention before supporting these with evidence.

Order of supporting points

• A writer may present their points from strongest to weakest in order to be highly
persuasive from the start, this can gain readers attention and support straight away
allowing for them to be more impressionable to the rest of the piece.
• Or a writer can build to their stronger reasons, this can be most effective for a
neutral /hostile audience.

Use of headings, subheadings, and visual material

• The headline / title can summarise the writers pov, pose a question, make a
provocative statement, or spark curiosity.
• A writer might use subheadings to break up the text, which can suggest the writer is
approaching the subject logically.
• A photograph can emphasise the emotive aspects of an issue, or act as evidence.

Powerful closings
• A call to action is a common way to conclude, inviting the audience to participate in
some action or behavioural change.
• A single sentence paragraph, in clear and forceful language, can crystalise the
writers contention and have a strong impact.
• Texts that begin with an anecdote / study can come back to it at the end to create
more textual cohesion.
Additional structural features
Rebuttal: The use of argument to disprove another pov, can be incorporated in the overall
argument, in a segment, or be integrated through out.
Creation of dichotomy: Framing the debate of consisting two starkly contrasting party's,
"good vs bad." Simplifying a debate like this implies a neutral position is not possible and
urges the audience to pick a side.
Omissions and marginalisation: Writers sometimes omit or belittle details that doesn't
support their argument. A similar tactic is tokenism, having an alternative perspective be
not as covered in as much depth but creating the illusion of different perspectives being
accounted for.

Types of rhetoric
• Logos: Appealing to audiences logic and reason
• Pathos: Appealing to audiences values and emotions.
• Ethos: Appealing to the authority or credibility of the writer / speaker. Extra
rhetoric
• Kairos: Creating a sense of opportunity or urgency.
• Topos: Employing a familiar rhetorical structure or motif.

Creating interpretive texts

Developing an informed opinion
The key to a good interpretive text is understanding.

Do your research
Your research should address:
• The context.
• The facts.
• The stakeholders - who's affected.

Analyse your data

Just as you analyse a text, analyse the data - its implications and what it is represented in
each of your sources.
Evaluate your own perspective
Be reflective and determine your own perspective on the topic, this involves considering
your own contexts and biases and how that could influence your perspective. Make sure
your perspective in text is based on evidence and not strictly emotion.

Consider alternative perspectives

Consider other perspectives of the topic and why they feel that way, are there other things
you’re not considering?

Offer an original contribution

Importantly, an interpretive text should not just regurgitate what is already out there on
this topic. Ask the following questions:
• Why am I exploring this topic?
• What purpose or outcome do I want to achieve?
• What am I bringing to a wider discussion?
• What new understanding, approach or perspective am I brining?
• Why should it be significant to others? What should they take away from my text? If
you are not adding something fresh your text is unlikely to engage your audience.

Developing an interpretive structure

Narrative
This interpretation typically of a person / event is structured as a narrative with developed
characters and conflict. E.g. memoirs, documentaries.

Comparative
This interpretation structures two or more elements in a comparative structure. E.g. article
of past vs present, books vs movies, two sports teams.

Inverted pyramid
A common interpretation that covers the most important / surface information first before
getting more niece. E.g. most feature articles use this structure.

Discursive
This interpretation is constructed in the form of discussion, with each paragraph
approaching the point from a different angle, subheadings can be used to signify this. E.g..
Composition essays can use this structure when evaluating different points.
Narrative incursion
Interpretive texts that are more purely expository (non-narrative) may incorporate
narrative inclusion. This is a structural feature whereby the text digresses into a piece of
narrative amid the more typically expository content. E.g. An anecdote from the writer that
illustrates the topic; a case study that explores the circumstances of a particular example; a
hypothetical situation that illustrates the consequences of an issue.

Developing a voice
There are generally two ways in which writers of interpretive texts can use language
features to construct a voice. One is to be objective and dispassionate, and the other is to be
conversational and engaging. Another way of creating balance and objectivity (or the
illusion of it) is to consider including multiple voices in your text through case studies,
multiple speakers, interviews, and quotes ext...

Using nuanced language

The syllabus requires you to experiment with nuanced language, consider the subtle
differences between your choices of words and the different effect each word can have.
Modality can also add nuance to your language as it can express how certain you are of
something.