comparative essay phrases

Comparative Essay

How to Write a Comparative Essay – A Complete Guide

10 min read

What is a Comparative Essay?

A comparative essay is a type of essay in which an essay writer compares at least two or more items. The author compares two subjects with the same relation in terms of similarities and differences depending on the assignment.

The main purpose of the comparative essay is to:

Highlight the similarities and differences in a systematic manner.
Provide great clarity of the subject to the readers.
Analyze two things and describe their advantages and drawbacks.

A comparative essay is also known as compare and contrast essay or a comparison essay. It analyzes two subjects by either comparing them, contrasting them, or both. The Venn diagram is the best tool for writing a paper about the comparison between two subjects.

Moreover, a comparative analysis essay discusses the similarities and differences of themes, items, events, views, places, concepts, etc. For example, you can compare two different novels (e.g., The Adventures of Huckleberry Finn and The Red Badge of Courage).

However, a comparative essay is not limited to specific topics. It covers almost every topic or subject with some relation.

Comparative Essay Structure

A good comparative essay is based on how well you structure your essay. It helps the reader to understand your essay better.

The structure is more important than what you write. This is because it is necessary to organize your essay so that the reader can easily go through the comparisons made in an essay.

The following are the two main methods in which you can organize your comparative essay.

Point-by-Point Method

The point-by-point or alternating method provides a detailed overview of the items that you are comparing. In this method, organize items in terms of similarities and differences.

This method makes the writing phase easy for the writer to handle two completely different essay subjects. It is highly recommended where some depth and detail are required.

Below given is the structure of the point-by-point method.

Block Method

The block method is the easiest as compared to the point-by-point method. In this method, you divide the information in terms of parameters. It means that the first paragraph compares the first subject and all their items, then the second one compares the second, and so on.

However, make sure that you write the subject in the same order. This method is best for lengthy essays and complicated subjects.

Here is the structure of the block method.

Therefore, keep these methods in mind and choose the one according to the chosen subject.

Mixed Paragraphs Method

In this method, one paragraph explains one aspect of the subject. As a writer, you will handle one point at a time and one by one. This method is quite beneficial as it allows you to give equal weightage to each subject and help the readers identify the point of comparison easily.

How to Start a Comparative Essay?

Here, we have gathered some steps that you should follow to start a well-written comparative essay.

Choose a Topic

The foremost step in writing a comparative essay is to choose a suitable topic.

Choose a topic or theme that is interesting to write about and appeals to the reader.

An interesting essay topic motivates the reader to know about the subject. Also, try to avoid complicated topics for your comparative essay.

Develop a List of Similarities and Differences

Create a list of similarities and differences between two subjects that you want to include in the essay. Moreover, this list helps you decide the basis of your comparison by constructing your initial plan.

Evaluate the list and establish your argument and thesis statement .

Establish the Basis for Comparison

The basis for comparison is the ground for you to compare the subjects. In most cases, it is assigned to you, so check your assignment or prompt.

Furthermore, the main goal of the comparison essay is to inform the reader of something interesting. It means that your subject must be unique to make your argument interesting.

Do the Research

In this step, you have to gather information for your subject. If your comparative essay is about social issues, historical events, or science-related topics, you must do in-depth research.

However, make sure that you gather data from credible sources and cite them properly in the essay.

Create an Outline

An essay outline serves as a roadmap for your essay, organizing key elements into a structured format.

With your topic, list of comparisons, basis for comparison, and research in hand, the next step is to create a comprehensive outline.

Here is a standard comparative essay outline:

How to Write a Comparative Essay?

Now that you have the basic information organized in an outline, you can get started on the writing process.

Here are the essential parts of a comparative essay:

Comparative Essay Introduction

Start off by grabbing your reader's attention in the introduction . Use something catchy, like a quote, question, or interesting fact about your subjects.

Then, give a quick background so your reader knows what's going on.

The most important part is your thesis statement, where you state the main argument , the basis for comparison, and why the comparison is significant.

This is what a typical thesis statement for a comparative essay looks like:

Comparative Essay Body Paragraphs

The body paragraphs are where you really get into the details of your subjects. Each paragraph should focus on one thing you're comparing.

Start by talking about the first point of comparison. Then, go on to the next points. Make sure to talk about two to three differences to give a good picture.

After that, switch gears and talk about the things they have in common. Just like you discussed three differences, try to cover three similarities.

This way, your essay stays balanced and fair. This approach helps your reader understand both the ways your subjects are different and the ways they are similar. Keep it simple and clear for a strong essay.

Comparative Essay Conclusion

In your conclusion , bring together the key insights from your analysis to create a strong and impactful closing.

Consider the broader context or implications of the subjects' differences and similarities. What do these insights reveal about the broader themes or ideas you're exploring?

Discuss the broader implications of these findings and restate your thesis. Avoid introducing new information and end with a thought-provoking statement that leaves a lasting impression.

Below is the detailed comparative essay template format for you to understand better.

Comparative Essay Format

Comparative Essay Examples

Have a look at these comparative essay examples pdf to get an idea of the perfect essay.

Comparative Essay on Summer and Winter

Comparative Essay on Books vs. Movies

Comparative Essay Sample

Comparative Essay Thesis Example

Comparative Essay on Football vs Cricket

Comparative Essay on Pet and Wild Animals

Comparative Essay Topics

Comparative essay topics are not very difficult or complex. Check this list of essay topics and pick the one that you want to write about.

How do education and employment compare?
Living in a big city or staying in a village.
The school principal or college dean.
New Year vs. Christmas celebration.
Dried Fruit vs. Fresh. Which is better?
Similarities between philosophy and religion.
British colonization and Spanish colonization.
Nuclear power for peace or war?
Bacteria or viruses.
Fast food vs. homemade food.

Tips for Writing A Good Comparative Essay

Writing a compelling comparative essay requires thoughtful consideration and strategic planning. Here are some valuable tips to enhance the quality of your comparative essay:

Clearly define what you're comparing, like themes or characters.
Plan your essay structure using methods like point-by-point or block paragraphs.
Craft an introduction that introduces subjects and states your purpose.
Ensure an equal discussion of both similarities and differences.
Use linking words for seamless transitions between paragraphs.
Gather credible information for depth and authenticity.
Use clear and simple language, avoiding unnecessary jargon.
Dedicate each paragraph to a specific point of comparison.
Summarize key points, restate the thesis, and emphasize significance.
Thoroughly check for clarity, coherence, and correct any errors.

Transition Words For Comparative Essays

Transition words are crucial for guiding your reader through the comparative analysis. They help establish connections between ideas and ensure a smooth flow in your essay.

Here are some transition words and phrases to improve the flow of your comparative essay:

Transition Words for Similarities

Correspondingly
In the same vein
In like manner
In a similar fashion
In tandem with

Transition Words for Differences

On the contrary
In contrast
Nevertheless
In spite of
Notwithstanding
On the flip side
In contradistinction

Check out this blog listing more transition words that you can use to enhance your essay’s coherence!

In conclusion, now that you have the important steps and helpful tips to write a good comparative essay, you can start working on your own essay.

However, if you find it tough to begin, you can always hire our college paper writing service .

Our skilled writers can handle any type of essay or assignment you need. So, don't wait—place your order now and make your academic journey easier!

Frequently Asked Question

How long is a comparative essay.

A comparative essay is 4-5 pages long, but it depends on your chosen idea and topic.

How do you end a comparative essay?

Here are some tips that will help you to end the comparative essay.

Restate the thesis statement
Wrap up the entire essay
Highlight the main points

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Dr. Barbara is a highly experienced writer and author who holds a Ph.D. degree in public health from an Ivy League school. She has worked in the medical field for many years, conducting extensive research on various health topics. Her writing has been featured in several top-tier publications.

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English Comparative Linking Phrases

Daniel Paul

It is important not to repeat the same words over and over again in your English comparative essay on paper 2. Use different linking words to keep your writing interesting. Listed here are some examples of comparing and contrasting words.

Comparing Similarities

… is common in…
Equally noticeable is…
Furthermore
Both authors take the same approach in…
A common feature of all the texts are…
This is mirrored in…
This can also be observed in…
… is equally important in both texts.

Contrasting Phrases

The texts are different in the area of…
On the other hand
This is contrasted in…
On the contrary…
However, the opposite is seen in…
In contrast/contrastingly…
Nothing like this occurs in…
Quite the reverse is seen in…
This is the only text where we notice…

The Classroom | Empowering Students in Their College Journey

Comparative Phrases for Essays

English: Sentence Opening Techniques

An essay explores an issue from a particular focus, usually in at least five paragraphs. The body of an essay explains and proves the purpose of the essay through sentences that organize ideas and connect them to each other. One common relationship between ideas that sentences in an essay demonstrate is similarity. Comparative phrases signal that a writer is showing similarity between ideas.

Advantages of Comparative Phrases

An amateur writer assumes the connections between the ideas in his writing should be obvious to anyone, simply because the writer can understand them. However, this is not the case. This common error leads to choppy sentences and fuzzy connections between ideas, both on the sentence and paragraph level. Transition phrases, such as comparative phrases, bring the writer’s thought process into relief for the reader.

Kinds of Comparative Phrases

The term “phrase” usually refers to a group of words, but single comparative words can function identically to a comparative phrase that contains several words. Comparative phrases often function as either adverbs or adverbial phrases. For example, “similarly” and “likewise” are both adverbs, as in “The two sports are played similarly,” and “Likewise, the cause of the second reaction is unknown.” “Just as,” “so too” and “also” all indicate comparison as well. Longer comparative phrases include “in comparison,” “in the same way/fashion/vein/manner” and “this idea is similar to.” Writers can also compare ideas by saying “as good as,” as in “This shoe fits as good as the other one.” These phrases can begin sentences, precede ideas in the middle of a sentence to link it back to the one before or link ideas in the same sentence.

Where to Use Comparative Phrases in an Essay

There are no right or wrong places to put comparative phrases in an essay. They certainly prove useful in the body of an essay, where the writer explains how evidence for the main argument or topic sentence fits together or shows common properties. However, comparative phrases can also clarify ideas in an introduction. In an essay that requires a literature review before the thesis, comparative phrases can help a writer organize which sources agree with each other. Sometimes beginning a new paragraph with a comparative phrase that connects the following information with the ideas in the previous paragraph provides a smooth transition for the reader.

Considerations for Use

Use a variety of comparative phrases to prevent your essay from sounding repetitive. However, using comparative phrases excessively can make your essay sound contrived. Instead, punctuate your essay with comparative phrases periodically where ideas could benefit from being more clearly linked. Also, substitute short one- or two-word phrases for long phrases wherever possible to avoid wordiness.

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Can You Have Two Consecutive Adverbs in a Sentence?

How to Find the Parts of Speech in a Sentence

“Simon & Schuster Handbook for Writers”; Lynn Quitman Troyka; 2002

Nadine Smith has been writing since 2010. She teaches college writing and ESL courses and has several years experience tutoring all ages in English, ESL and literature. Nadine holds a Master of Arts in English language and literature from McMaster University in Ontario, Canada, where she led seminars as a teaching assistant.

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The Comparative Essay

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What is a comparative essay?

A comparative essay asks that you compare at least two (possibly more) items. These items will differ depending on the assignment. You might be asked to compare

positions on an issue (e.g., responses to midwifery in Canada and the United States)
theories (e.g., capitalism and communism)
figures (e.g., GDP in the United States and Britain)
texts (e.g., Shakespeare’s Hamlet and Macbeth )
events (e.g., the Great Depression and the global financial crisis of 2008–9)

Although the assignment may say “compare,” the assumption is that you will consider both the similarities and differences; in other words, you will compare and contrast.

Make sure you know the basis for comparison

The assignment sheet may say exactly what you need to compare, or it may ask you to come up with a basis for comparison yourself.

Provided by the essay question: The essay question may ask that you consider the figure of the gentleman in Charles Dickens’s Great Expectations and Anne Brontë’s The Tenant of Wildfell Hall . The basis for comparison will be the figure of the gentleman.
Developed by you: The question may simply ask that you compare the two novels. If so, you will need to develop a basis for comparison, that is, a theme, concern, or device common to both works from which you can draw similarities and differences.

Develop a list of similarities and differences

Once you know your basis for comparison, think critically about the similarities and differences between the items you are comparing, and compile a list of them.

For example, you might decide that in Great Expectations , being a true gentleman is not a matter of manners or position but morality, whereas in The Tenant of Wildfell Hall , being a true gentleman is not about luxury and self-indulgence but hard work and productivity.

The list you have generated is not yet your outline for the essay, but it should provide you with enough similarities and differences to construct an initial plan.

Develop a thesis based on the relative weight of similarities and differences

Once you have listed similarities and differences, decide whether the similarities on the whole outweigh the differences or vice versa. Create a thesis statement that reflects their relative weights. A more complex thesis will usually include both similarities and differences. Here are examples of the two main cases:

While Callaghan’s “All the Years of Her Life” and Mistry’s “Of White Hairs and Cricket” both follow the conventions of the coming-of-age narrative, Callaghan’s story adheres more closely to these conventions by allowing its central protagonist to mature. In Mistry’s story, by contrast, no real growth occurs.

Although Darwin and Lamarck came to different conclusions about whether acquired traits can be inherited, they shared the key distinction of recognizing that species evolve over time.

Come up with a structure for your essay

Note that the French and Russian revolutions (A and B) may be dissimilar rather than similar in the way they affected innovation in any of the three areas of technology, military strategy, and administration. To use the alternating method, you just need to have something noteworthy to say about both A and B in each area. Finally, you may certainly include more than three pairs of alternating points: allow the subject matter to determine the number of points you choose to develop in the body of your essay.

When do I use the block method? The block method is particularly useful in the following cases:

You are unable to find points about A and B that are closely related to each other.
Your ideas about B build upon or extend your ideas about A.
You are comparing three or more subjects as opposed to the traditional two.

The Writing Center • University of North Carolina at Chapel Hill

Comparing and Contrasting

What this handout is about.

This handout will help you first to determine whether a particular assignment is asking for comparison/contrast and then to generate a list of similarities and differences, decide which similarities and differences to focus on, and organize your paper so that it will be clear and effective. It will also explain how you can (and why you should) develop a thesis that goes beyond “Thing A and Thing B are similar in many ways but different in others.”

Introduction

In your career as a student, you’ll encounter many different kinds of writing assignments, each with its own requirements. One of the most common is the comparison/contrast essay, in which you focus on the ways in which certain things or ideas—usually two of them—are similar to (this is the comparison) and/or different from (this is the contrast) one another. By assigning such essays, your instructors are encouraging you to make connections between texts or ideas, engage in critical thinking, and go beyond mere description or summary to generate interesting analysis: when you reflect on similarities and differences, you gain a deeper understanding of the items you are comparing, their relationship to each other, and what is most important about them.

Recognizing comparison/contrast in assignments

Some assignments use words—like compare, contrast, similarities, and differences—that make it easy for you to see that they are asking you to compare and/or contrast. Here are a few hypothetical examples:

Compare and contrast Frye’s and Bartky’s accounts of oppression.
Compare WWI to WWII, identifying similarities in the causes, development, and outcomes of the wars.
Contrast Wordsworth and Coleridge; what are the major differences in their poetry?

Notice that some topics ask only for comparison, others only for contrast, and others for both.

But it’s not always so easy to tell whether an assignment is asking you to include comparison/contrast. And in some cases, comparison/contrast is only part of the essay—you begin by comparing and/or contrasting two or more things and then use what you’ve learned to construct an argument or evaluation. Consider these examples, noticing the language that is used to ask for the comparison/contrast and whether the comparison/contrast is only one part of a larger assignment:

Choose a particular idea or theme, such as romantic love, death, or nature, and consider how it is treated in two Romantic poems.
How do the different authors we have studied so far define and describe oppression?
Compare Frye’s and Bartky’s accounts of oppression. What does each imply about women’s collusion in their own oppression? Which is more accurate?
In the texts we’ve studied, soldiers who served in different wars offer differing accounts of their experiences and feelings both during and after the fighting. What commonalities are there in these accounts? What factors do you think are responsible for their differences?

You may want to check out our handout on understanding assignments for additional tips.

Using comparison/contrast for all kinds of writing projects

Sometimes you may want to use comparison/contrast techniques in your own pre-writing work to get ideas that you can later use for an argument, even if comparison/contrast isn’t an official requirement for the paper you’re writing. For example, if you wanted to argue that Frye’s account of oppression is better than both de Beauvoir’s and Bartky’s, comparing and contrasting the main arguments of those three authors might help you construct your evaluation—even though the topic may not have asked for comparison/contrast and the lists of similarities and differences you generate may not appear anywhere in the final draft of your paper.

Discovering similarities and differences

Making a Venn diagram or a chart can help you quickly and efficiently compare and contrast two or more things or ideas. To make a Venn diagram, simply draw some overlapping circles, one circle for each item you’re considering. In the central area where they overlap, list the traits the two items have in common. Assign each one of the areas that doesn’t overlap; in those areas, you can list the traits that make the things different. Here’s a very simple example, using two pizza places:

Venn diagram indicating that both Pepper's and Amante serve pizza with unusual ingredients at moderate prices, despite differences in location, wait times, and delivery options

To make a chart, figure out what criteria you want to focus on in comparing the items. Along the left side of the page, list each of the criteria. Across the top, list the names of the items. You should then have a box per item for each criterion; you can fill the boxes in and then survey what you’ve discovered.

Here’s an example, this time using three pizza places:

As you generate points of comparison, consider the purpose and content of the assignment and the focus of the class. What do you think the professor wants you to learn by doing this comparison/contrast? How does it fit with what you have been studying so far and with the other assignments in the course? Are there any clues about what to focus on in the assignment itself?

Here are some general questions about different types of things you might have to compare. These are by no means complete or definitive lists; they’re just here to give you some ideas—you can generate your own questions for these and other types of comparison. You may want to begin by using the questions reporters traditionally ask: Who? What? Where? When? Why? How? If you’re talking about objects, you might also consider general properties like size, shape, color, sound, weight, taste, texture, smell, number, duration, and location.

Two historical periods or events

When did they occur—do you know the date(s) and duration? What happened or changed during each? Why are they significant?
What kinds of work did people do? What kinds of relationships did they have? What did they value?
What kinds of governments were there? Who were important people involved?
What caused events in these periods, and what consequences did they have later on?

Two ideas or theories

What are they about?
Did they originate at some particular time?
Who created them? Who uses or defends them?
What is the central focus, claim, or goal of each? What conclusions do they offer?
How are they applied to situations/people/things/etc.?
Which seems more plausible to you, and why? How broad is their scope?
What kind of evidence is usually offered for them?

Two pieces of writing or art

What are their titles? What do they describe or depict?
What is their tone or mood? What is their form?
Who created them? When were they created? Why do you think they were created as they were? What themes do they address?
Do you think one is of higher quality or greater merit than the other(s)—and if so, why?
For writing: what plot, characterization, setting, theme, tone, and type of narration are used?
Where are they from? How old are they? What is the gender, race, class, etc. of each?
What, if anything, are they known for? Do they have any relationship to each other?
What are they like? What did/do they do? What do they believe? Why are they interesting?
What stands out most about each of them?

Deciding what to focus on

By now you have probably generated a huge list of similarities and differences—congratulations! Next you must decide which of them are interesting, important, and relevant enough to be included in your paper. Ask yourself these questions:

What’s relevant to the assignment?
What’s relevant to the course?
What’s interesting and informative?
What matters to the argument you are going to make?
What’s basic or central (and needs to be mentioned even if obvious)?
Overall, what’s more important—the similarities or the differences?

Suppose that you are writing a paper comparing two novels. For most literature classes, the fact that they both use Caslon type (a kind of typeface, like the fonts you may use in your writing) is not going to be relevant, nor is the fact that one of them has a few illustrations and the other has none; literature classes are more likely to focus on subjects like characterization, plot, setting, the writer’s style and intentions, language, central themes, and so forth. However, if you were writing a paper for a class on typesetting or on how illustrations are used to enhance novels, the typeface and presence or absence of illustrations might be absolutely critical to include in your final paper.

Sometimes a particular point of comparison or contrast might be relevant but not terribly revealing or interesting. For example, if you are writing a paper about Wordsworth’s “Tintern Abbey” and Coleridge’s “Frost at Midnight,” pointing out that they both have nature as a central theme is relevant (comparisons of poetry often talk about themes) but not terribly interesting; your class has probably already had many discussions about the Romantic poets’ fondness for nature. Talking about the different ways nature is depicted or the different aspects of nature that are emphasized might be more interesting and show a more sophisticated understanding of the poems.

Your thesis

The thesis of your comparison/contrast paper is very important: it can help you create a focused argument and give your reader a road map so they don’t get lost in the sea of points you are about to make. As in any paper, you will want to replace vague reports of your general topic (for example, “This paper will compare and contrast two pizza places,” or “Pepper’s and Amante are similar in some ways and different in others,” or “Pepper’s and Amante are similar in many ways, but they have one major difference”) with something more detailed and specific. For example, you might say, “Pepper’s and Amante have similar prices and ingredients, but their atmospheres and willingness to deliver set them apart.”

Be careful, though—although this thesis is fairly specific and does propose a simple argument (that atmosphere and delivery make the two pizza places different), your instructor will often be looking for a bit more analysis. In this case, the obvious question is “So what? Why should anyone care that Pepper’s and Amante are different in this way?” One might also wonder why the writer chose those two particular pizza places to compare—why not Papa John’s, Dominos, or Pizza Hut? Again, thinking about the context the class provides may help you answer such questions and make a stronger argument. Here’s a revision of the thesis mentioned earlier:

Pepper’s and Amante both offer a greater variety of ingredients than other Chapel Hill/Carrboro pizza places (and than any of the national chains), but the funky, lively atmosphere at Pepper’s makes it a better place to give visiting friends and family a taste of local culture.

You may find our handout on constructing thesis statements useful at this stage.

Organizing your paper

There are many different ways to organize a comparison/contrast essay. Here are two:

Subject-by-subject

Begin by saying everything you have to say about the first subject you are discussing, then move on and make all the points you want to make about the second subject (and after that, the third, and so on, if you’re comparing/contrasting more than two things). If the paper is short, you might be able to fit all of your points about each item into a single paragraph, but it’s more likely that you’d have several paragraphs per item. Using our pizza place comparison/contrast as an example, after the introduction, you might have a paragraph about the ingredients available at Pepper’s, a paragraph about its location, and a paragraph about its ambience. Then you’d have three similar paragraphs about Amante, followed by your conclusion.

The danger of this subject-by-subject organization is that your paper will simply be a list of points: a certain number of points (in my example, three) about one subject, then a certain number of points about another. This is usually not what college instructors are looking for in a paper—generally they want you to compare or contrast two or more things very directly, rather than just listing the traits the things have and leaving it up to the reader to reflect on how those traits are similar or different and why those similarities or differences matter. Thus, if you use the subject-by-subject form, you will probably want to have a very strong, analytical thesis and at least one body paragraph that ties all of your different points together.

A subject-by-subject structure can be a logical choice if you are writing what is sometimes called a “lens” comparison, in which you use one subject or item (which isn’t really your main topic) to better understand another item (which is). For example, you might be asked to compare a poem you’ve already covered thoroughly in class with one you are reading on your own. It might make sense to give a brief summary of your main ideas about the first poem (this would be your first subject, the “lens”), and then spend most of your paper discussing how those points are similar to or different from your ideas about the second.

Point-by-point

Rather than addressing things one subject at a time, you may wish to talk about one point of comparison at a time. There are two main ways this might play out, depending on how much you have to say about each of the things you are comparing. If you have just a little, you might, in a single paragraph, discuss how a certain point of comparison/contrast relates to all the items you are discussing. For example, I might describe, in one paragraph, what the prices are like at both Pepper’s and Amante; in the next paragraph, I might compare the ingredients available; in a third, I might contrast the atmospheres of the two restaurants.

If I had a bit more to say about the items I was comparing/contrasting, I might devote a whole paragraph to how each point relates to each item. For example, I might have a whole paragraph about the clientele at Pepper’s, followed by a whole paragraph about the clientele at Amante; then I would move on and do two more paragraphs discussing my next point of comparison/contrast—like the ingredients available at each restaurant.

There are no hard and fast rules about organizing a comparison/contrast paper, of course. Just be sure that your reader can easily tell what’s going on! Be aware, too, of the placement of your different points. If you are writing a comparison/contrast in service of an argument, keep in mind that the last point you make is the one you are leaving your reader with. For example, if I am trying to argue that Amante is better than Pepper’s, I should end with a contrast that leaves Amante sounding good, rather than with a point of comparison that I have to admit makes Pepper’s look better. If you’ve decided that the differences between the items you’re comparing/contrasting are most important, you’ll want to end with the differences—and vice versa, if the similarities seem most important to you.

Our handout on organization can help you write good topic sentences and transitions and make sure that you have a good overall structure in place for your paper.

Cue words and other tips

To help your reader keep track of where you are in the comparison/contrast, you’ll want to be sure that your transitions and topic sentences are especially strong. Your thesis should already have given the reader an idea of the points you’ll be making and the organization you’ll be using, but you can help them out with some extra cues. The following words may be helpful to you in signaling your intentions:

like, similar to, also, unlike, similarly, in the same way, likewise, again, compared to, in contrast, in like manner, contrasted with, on the contrary, however, although, yet, even though, still, but, nevertheless, conversely, at the same time, regardless, despite, while, on the one hand … on the other hand.

For example, you might have a topic sentence like one of these:

Compared to Pepper’s, Amante is quiet.
Like Amante, Pepper’s offers fresh garlic as a topping.
Despite their different locations (downtown Chapel Hill and downtown Carrboro), Pepper’s and Amante are both fairly easy to get to.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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Mentor Texts

Writing Comparative Essays: Making Connections to Illuminate Ideas

Breathing new life into a familiar school format, with the help of Times journalism and several winning student essays.

By Katherine Schulten

Our new Mentor Text series spotlights writing from The Times and from our student contests that teenagers can learn from and emulate.

This entry aims to help support those participating in our Third Annual Connections Contest , in which students are invited to take something they are studying in school and show us, via parallels found in a Times article, how it connects to our world today. In other words, we’re asking them to compare ideas in two texts.

For even more on how to help your students make those kinds of connections, please see our related writing unit .

I. Overview

Making connections is a natural part of thinking. We can’t help doing it. If you’re telling a friend about a new song or restaurant or TV show you like, you’ll almost always find yourself saying, “It’s like _________” and referencing something you both know. It’s a simple way of helping your listener get his or her bearings.

Journalists do it too. In fact, it’s one of the main tools of the trade to help explain a new concept or reframe an old one. Here are just a few recent examples:

A science reporter explains the behavior of fossilized marine animals by likening them to humans making conga lines.

A sportswriter describes the current N.B.A. season by framing it in terms of Broadway show tunes.

An Op-Ed contributor compares today’s mainstreaming of contemporary African art to “an urban neighborhood undergoing gentrification.”

Sometimes a journalist will go beyond making a simple analogy and devote a whole piece to an extended comparison between two things. Articles like these are real-world cousins of that classic compare/contrast essay you’ve probably been writing in school since you could first hold a pen.

For example, take a look at how each of the Times articles below focuses on a comparison, weaving back and forth between two things and looking at them from different angles:

Consider a classic sports debate: Jordan vs. James. See how this 2016 piece explores what the two have in common — as well as how they differ.

Or, check out this 2019 piece that argues that “ Friendsgiving Has Become Just as Fraught as Thanksgiving ,” and compares the two to determine which has become “a bigger pain in the wishbone.”

Though written as a list rather than an essay, this fun piece from the Watching section in 2018 contends that “ ‘Die Hard’ Never Died, It Just Turned 30 and Had Cinematic Children ” by comparing the original to heirs like “Speed” and “Home Alone.” Read it to notice how, in just a paragraph per movie, the writer still manages to provide plenty of evidence to make each comparison work.

To find real-world examples that are closer to what you’re asked to do in school, look to Times sections that feature in-depth writing, like the Sunday Review and the Times Magazine . Both often publish pieces that connect some aspect of the past to an event, issue or trend today. For example:

“ What Quakers Can Teach Us About the Politics of Pronouns ” suggests lessons for “today’s egalitarians” by making a link to the 17th-century Quakers, “who also suspected that the rules of grammar stood between them and a society of equals.”

Other recent pieces focus on historical comparisons, including “ Early Motherhood Has Always Been Miserable ,” “ Donald Trump, Meet Your Precursor ” and a satirical video Op-Ed, “ Here’s What Cancel Culture Looked Like in 1283 .”

The 1619 Project , a Times Magazine initiative observing the 400th anniversary of the beginning of American slavery, is an especially rich example of this kind of connection-making. It reframes American history by “placing the consequences of slavery and the contributions of black Americans at the very center of the story we tell ourselves about who we are” — and uses that frame to look at issues including today’s prison system, health care, the wealth gap, the sugar industry and traffic jams in Atlanta.

Now, are all of these pieces structured exactly like that essay you have to write for your English class comparing a contemporary work to “Romeo and Juliet?” Does each have a clear thesis statement in the last line of the first paragraph and three body paragraphs that begin with topic sentences?

Of course not. They were written for an entirely different audience and purpose than the essay you might have to write, and most of them resist easy categorization into a specific “text type.”

But these pieces are full of craft lessons that can make your own writing more artful and interesting. And if you are participating in our annual Connections Contest , the essays we feature below will be especially helpful, since they focus on doing just what you’ll be doing — making a comparison between something you’re studying in school and some event, issue, trend, person, problem or concept in the news today.

First you’ll consider one excellent Times essay that does pretty much exactly what we’re asking you to do.

Next, we’ve supplied examples from over a dozen previous student winners to help guide you through the basic elements of any comparative analysis. Whether you’re writing for our contest or not, we hope you’ll find plenty of strategies to borrow.

II. Looking at Structure Over All: One Times Mentor Text

Take a look at the essay the Times book critic Michiko Kakutani wrote in the first weeks of the Trump administration. Just as many of you will do for our contest, she examines how a classic literary work can take on new significance when considered in light of real-world events.

Whether you agree with her analysis or not, notice how “ Why ‘1984’ Is a 2017 Must-Read ” is structured. You might highlight three categories — places where she’s writing chiefly about “1984”; places where she’s writing chiefly about our world today; and places where the two merge.

Here is how her piece, a Critic’s Notebook essay, begins:

The dystopia described in George Orwell’s nearly 70-year-old novel “1984” suddenly feels all too familiar. A world in which Big Brother (or maybe the National Security Agency) is always listening in, and high-tech devices can eavesdrop in people’s homes. (Hey, Alexa, what’s up?) A world of endless war, where fear and hate are drummed up against foreigners, and movies show boatloads of refugees dying at sea. A world in which the government insists that reality is not “something objective, external, existing in its own right” — but rather, “whatever the Party holds to be truth is truth.”

How does the first line set up the comparison?

How does the writer weave back and forth between today’s world and the world of “1984”? For example, what is she doing the two times she uses parentheses?

After you read the full essay, you might then consider:

Over all, what did you notice about the structure of this piece? How does it emphasize the parallels between the world of “1984” and the world of January 2017?

Is it effective? What is this writer’s thesis? Does she make her case, in your opinion? What specific lines, or points of comparison, do that especially well?

What transitional words and phrases does the writer use to move between her two topics? For example, in the second paragraph she writes “It was a phrase chillingly reminiscent …” as a bridge. What other examples can you find?

How does she sometimes merge her two topics — for example in the phrase “make Oceania great again”?

What else do you notice or admire about this review? What lessons might it have for your writing?

III. Elements of Effective Comparative Analyses: Great Examples From Students

Our Connections Contest asks students to find and analyze parallels, just as Ms. Kakutani does in her essay on Orwell — though she had some 1,200 words to build a case and students participating in our contest have only 450.

But if you look at the examples below from our 2017 and 2018 winners, you’ll see that it’s possible to make a rich connection in just a few paragraphs, and you’ll find plenty of specific strategies to borrow in constructing your own.

Here are some tips, with student examples to illustrate each.

1. Make sure you’re focusing on a manageable theme or idea.

One of the first ways to get on the wrong track in writing a comparative essay is to take on something too big for the scope of the assignment. Say, for example, you’re studying the Industrial Revolution and you realize you can compare it to today’s digital revolution in an array of ways, including worker’s rights, the upheaval of traditional industries and the impact on everyday lives. Where do you even begin?

That’s more or less the problem Alex Iyer, a student winner of our 2018 contest, had after reading “The Odyssey” in class, and noticing connections between the tale of that famous wanderer and today’s global refugee crisis. What can you possibly say in 450 words to connect two enormous topics, both of which have been the subject of innumerable scholarly books?

Notice how this student focuses. Instead of starting with a broad thesis like “We can see many parallels between the themes of ‘The Odyssey’ and our world today,” he looks only at how the Greek concept of xenia echoes today — and does so by examining just one article about Uganda. Below are the first two paragraphs, but we suggest you read the entire essay , paying close attention to how he describes both texts solely through this lens.

Try this: Once you choose a manageable focus, make sure all your details and examples support it.

Example: Alex Iyer, Geneva School of Boerne, San Antonio: Homer’s “The Odyssey” and “ As Rich Nations Close the Door on Refugees, Uganda Welcomes Them ”

In literature, we learned that in Homer’s epic poem “The Odyssey,” Homer uses the tribulations of the hero Odysseus to illustrate the Ancient Grecian custom of xenia. This custom focused on extending hospitality to those who found themselves far from home. As Odysseus navigates the treacherous path back to his own home, he encounters both morally upstanding and malevolent individuals. They range from a charitable princess who offers food and clothing, to an evil Cyclops who attempts to murder the hero and his fellow men. In class, we agreed that Homer employs these contrasting characters to exemplify not only proper, but also poor forms of xenia. For the people of its time, “The Odyssey” cemented the idea that xenia was fundamental for good character, resulting in hospitality becoming ingrained in the fabric of Ancient Grecian society. I saw a parallel to this in a New York Times article called “As Rich Nations Close the Door on Refugees, Uganda Welcomes Them” published on October 28, 2018. Similar to the prevalent custom of xenia in Ancient Greece, Uganda has made hosting refugees a national policy. The country is now occupied by up to 1.25 million refugees, many of whom are fleeing the violent unrest of South Sudan.

2. Introduce and briefly explain the significance of the connection.

We know it’s tempting to resort to a generic statement like, “In this essay I will compare and contrast _________ and _________ to show that …”

Not only is that deadly dull, but if you are participating in our contest, you also don’t want to waste any of your 450 words on a sentence that doesn’t say much.

Consider, instead, four more powerful ways to introduce the two things you’ll be connecting, and show right away how they work together.

Try this: Pose a question or questions that both texts are asking.

Example: Connor Stevens, Sunset High School, Portland, Ore.: Comparing “Fahrenheit 451” by Ray Bradbury and “ How Egypt Crowdsources Censorship ” ( Read the full student essay .)

How can you control ideas? In today’s world, you scroll through feeds, finding any information available: government trade deals, local restaurants, movies, and TV shows. We are in an age where the power to find any fact, answer or piece of information that floats into question is available anywhere. If this privilege was stripped by a bodying government, how would freedom of information change?

Try this: Make a statement that is true for both, and then explain why briefly.

Example: Jack Magner, Flint Hill School, Oakton, Va.: Comparing biological feedback loops and homeostasis with “ After #MeToo, the Ripple Effect ” ( Read the full student essay .)

All it takes is a single action to spark innumerable reactions. In the case of Jessica Bennett’s “After #MeToo, the Ripple Effect,” it is the publishing of a 2017 article in the Times that launches a revolution, changing the treatment and recognition of women for the better. In the case of AP Biology, it is the connection of a ligand to a receptor protein or a drastic change to an organism’s environment that sends millions of signals that protect the organism from harm.

Try this: Explain how or why you’ll look at a classic work through a new lens.

Example: Zaria Roller, Verona Area High School, Wis.: Comparing “Things Fall Apart” by Chinua Achebe and “ The Boys Are Not All Right ” ( Read the full student essay .)

Colonial-age Nigeria and modern day Western society have more in common than one would think. Although the buzz phrase “toxic masculinity” did not exist at the time Chinua Achebe’s “Things Fall Apart” was written, its protagonist, Okonkwo, might as well be the poster boy for it.

Try this: Trace your thinking about how you came to connect the two things. Please note: For this contest, use of the word “I” is not only permitted but also encouraged if it helps you explore your ideas.

Example: Alexa Bolnick, Indian Hills High School, Franklin Lakes, N.J.: “Death of a Salesman” by Arthur Miller and “ A Lack of Respect for the Working Class in America Today ” ( Read the full student essay .)

Last year, reading the play “Death of a Salesman,” I couldn’t understand why salesman Willy Loman refused to accept his son’s desire to perform manual labor for a living. If working on a ranch made him happy, then why couldn’t Willy let his son go.

Example: Isabella Picillo, 17, Oceanside High School: “The Scarlet Letter” and “ Judge Partially Lifts Trump Administration Ban on Refugees ” ( Read the full student essay .)

I stumble upon a New York Times article, “Judge Partially Lifts Trump Administration Ban on Refugees,” that makes me wonder if Hawthorne, the literary genius, is wrong.

3. Use transition words and phrases to pivot between the two works.

When you’re discussing two works in the same piece, you’ll find yourself needing to switch gears regularly. How do you do that gracefully?

Try this: Explore a connection by choosing transition words that emphasize commonality.

Here are some sentences, all from our 2018 winners , with examples of those words in bold:

— “ Similar to the prevalent custom of xenia in Ancient Greece, Uganda has made hosting refugees a national policy.” — “John Steinbeck’s classic novel ‘The Grapes of Wrath,’ which chronicles the struggles of the Joad family during the Great Depression, documents a similar reality.” — “Republican anti-Trump attitudes echo those of their nineteenth century counterparts, such as Carl Schulz, who wrote, ‘Our duty to the country … is … paramount to any duty we may owe to the party.’” — “ Paralleling the same theme, the short story ‘Harrison Bergeron’ by Kurt Vonnegut describes a future in which absolute equality has become the obsession of society.” — “This phenomenon mirrors that of negative feedback loops in biology, in which a stimulus triggers a biological response designed to keep a biological system at equilibrium.”

4. Acknowledge important contrasts between the two things you are connecting.

Part of comparing two things is contrasting them — showing where the commonalities end and explaining why the differences are significant.

But your essay shouldn’t just be a list of all the things the two texts have in common vs. all the things they don’t. Instead, you need to use the contrasts to acknowledge obvious differences, but still further your point about how and why the two ideas work together.

For example, the article comparing LeBron James and Michael Jordan makes the crucial distinction that they played in different eras — and thus it’s hard to compare them since we remember Jordan through “rose-colored” memories, while James, playing today, is considered by many “the most scrutinized and criticized American athlete, much of the naysaying unwarranted and aggravated by the polarizing effects of social media” that didn’t exist in Jordan’s heyday.

Keep in mind that since our contest emphasizes connections, not all of our previous winners have done this — but those who did only strengthened their cases.

Try this: Point out that surface differences are less important than the underlying message.

Example: Megan Lee, West Windsor Plainsboro High School North, Plainsboro, N.J.: “Harrison Bergeron” by Kurt Vonnegut and “ The Curse of Affirmative Action ” ( Read the full student essay .)

Although the “Harrison Bergeron” is a heavily exaggerated piece of fiction writing while “The Curse of Affirmative Action” was written to denounce a real world policy, both allude to the delicacy of equality.

Try this: Use a contrast to illuminate a bigger point — in this case that the ways in which the #MeToo movement is different than a biological feedback loop is also what makes it so “revolutionary.”

Example: Jack Magner, Flint Hill School, Oakton, Va.: Biological feedback loops and homeostasis and “ After #MeToo, the Ripple Effect ” ( Read the full student essay .)

#MeToo and feedback loops are extremely interconnected, but there is one key difference in the #MeToo movement that makes it so dynamic and revolutionary. In biology, feedback responses are developed slowly and organically over millions of years of evolution. Environments select for these responses, and a species’s fitness increases as a result. The #MeToo movement is the exact opposite, attacking the perceived natural order that our environment has selected for at the expense the “fittest” members of society: powerful men. This positive feedback loop does not run in concurrence with the already-established negative feedback loop. It instead serves as its foil, aiming to topple the destructive systems for which hyper-masculine society has selected for over thousands of years.

5. End in a way that sums up and says something new.

We could repeat this piece of advice in every edition of our Mentor Text series regardless of genre: No matter what you’re writing about, don’t waste your conclusion by just lazily restating what you’ve already said.

Instead, keep your readers thinking. Pose a new question, use a fresh quote that sums up your main idea, give some surprising new information, or tell a fitting final story.

In other words, no “In conclusion, I have shown how _________ and _________ have many similarities and many differences.”

Instead you could …

Try this: Draw a final lesson, takeaway or “moral” that the two together express.

Example: Samantha Jones, 16, Concord Carlisle Regional High School: “Walden” and “ Dropping Out of College Into Life ” ( Read the full student essay .)

The moral is clear: there are gaps in our education system, and because of these gaps students aren’t adequately prepared for their own futures. In his book Walden, Thoreau elaborates on the ideas Stauffer touches on in her article. As stated before, he believed learning through experience was exponentially better than a in classroom. When a rigid curriculum with expectations is set in place, students aren’t given the same hands on learning as they would be without one. Just as Stauffer embraced this learning style in the New School, Thoreau did so in Walden Woods …

Example: Robert McCoy, Whippany Park High School, Whippany, N.J.: Gilded Age Mugwumps and “ Republicans for Democrats ” ( Read the full student essay .)

The parallels in the Mugwump and Never Trump movements demonstrate the significance of adhering to a strict moral standard, despite extreme partisan divides …

Try this: Raise a new question or idea suggested by the comparison.

In this essay, Sebastian Zagler compares the ways that both a famous mathematical problem and the issue of climate change will require new innovation and collaboration to solve. But he ends the essay by engaging a new, related question: Why would anyone want to take on such “impossible problems” in the first place?

Example: Sebastian Zagler, John T. Hoggard High School, Wilmington, N.C.: the Collatz, or 3n+1, conjecture, a mathematical problem that has produced no mathematical proof for over 80 years, and “ Stopping Climate Change Is Hopeless. Let’s Do It. ” ( Read the full student essay .)

What draws mankind to these impossible problems, whether it be solving the Collatz conjecture or reversing climate change? Fighting for a common cause brings people together, making them part of something greater. Even fighting a “long defeat” can give one a sense of purpose — a sense of belonging …

Try this: End with an apt quote that applies to both.

Here are Sebastian Zagler’s last two lines:

There is a beauty in fighting a losing battle, as long as a glimmer of hope remains. And as Schendler and Jones write, “If the human species specializes in one thing, it’s taking on the impossible.”

And here are Samantha Jones’s:

For that is all Walden really is; Thoreau learning from nature by immersing himself in it, instead of seeing it on the pages of a book. A quote from Walden most fitting is as follows, “We boast of our system of education, but why stop at schoolmasters and schoolhouses? We are all schoolmasters, and our schoolhouse is the universe”

In both cases, the quotes are inspiring, hopeful and get at truths their essays worked hard to demonstrate.

Additional Resources

In our description of Unit 3 of our writing curriculum you can find much, much more, including related writing prompts and a series of lesson plans that can help teachers teach with our Connections Contest.

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4.2: Comparison and Contrast Essays

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Kathryn Crowther et al.
Georgia Perimeter College via GALILEO Open Learning Materials

Writing a Comparison-and-Contrast Essay

First, choose whether you want to compare seemingly disparate subjects, contrast seemingly similar subjects, or compare and contrast subjects. Once you have decided on a topic, introduce it with an engaging opening paragraph. Your thesis should come at the end of the introduction, and it should establish the subjects you will compare, contrast, or both as well as state what can be learned from doing so. Be sure to make an argument in your thesis; explain to the reader what’s at stake in analyzing the relationship between your stated subjects.

The body of the essay can be organized in one of two ways: by subject or by individual points. The organizing strategy that you choose will depend on, as always, your audience and your purpose. You may also consider your particular approach to the subjects as well as the nature of the subjects themselves; some subjects might better lend themselves to one structure or the other. Make sure to use comparison and contrast phrases to cue the reader to the ways in which you are analyzing the relationship between the subjects.

After you finish analyzing the subjects, write a conclusion that summarizes the main points of the essay and reinforces your thesis. This conclusion is the “and so” statement for your essay, giving you the place to offer a judgment based on the examination you have just offered.

Sample Comparison-and-Contrast Essays

A South African Storm

By Allison Howard – Peace Corps Volunteer: South Africa (2003-2005)

It’s a Saturday afternoon in January in South Africa. When I begin the 45–minute walk to the shops for groceries, I can hear thunder cracking in the distance up the mountain in Mageobaskloof. But at 4 p.m. the sky is still light and bright and I am sure—famous last words—I will be fine without an umbrella.

Just the basics: eggs, bread, Diet Coke in a bag slung into the crook of my elbow. Halfway from town, two black South African women—domestic workers in the homes of white Afrikaner families—stop me with wide smiles. They know me; I’m the only white person in town who walks everywhere, as they do. They chatter quickly in northern Sotho: “Missus, you must go fast. Pula e tla na! The rain, it comes!” They like me, and it feels very important to me that they do.“Yebo, yebo, mma,” I say—Yes, it’s true—and I hurry along in flip-flops, quickening my pace, feeling good about our brief but neighborly conversation. These are Venda women.

My black South African friends tell me it’s easy to tell a Venda from a Shangaan from a Xhosa from a Pedi. “These ones from Venda, they have wide across the nose and high in the cheekbones,” they say. But I don’t see it; I’m years away from being able to distinguish the nuances of ethnicity. Today, I know these women are Vendas simply because of their clothing: bright stripes of green and yellow and black fabric tied at one shoulder and hanging quite like a sack around their bodies. They’ve already extended a kindness to me by speaking in northern Sotho. It’s not their language but they know I don’t speak a word of Afrikaans (though they don’t understand why; Afrikaans is the language of white people). They know I struggle with Sotho and they’re trying to help me learn. So they speak Sotho to me and they’re delighted and amused by my fumbling responses. And I am, quite simply, delighted by their delight.

The Venda ladies are right: the rain, it comes. Lightly at first, and by habit I begin trotting to hurry my way home. Just a little rain at first and there are plenty of us out in it. I can see others up ahead on the street and others still just leaving the shops to get back before the real rain begins.

The people who are walking along this swath of tar road are black. Black people don’t live in this neighborhood—or in my town at all, for the most part. They work and board here as domestic workers, nannies, gardeners. Their families live in black townships and rural villages—some just outside of my town; others far away, in places like Venda.

Today, we’re walking together in the rain, and I’m quickening my pace because—after all, it’s raining. That’s what you do in the rain. And even though it’s coming down noticeably harder, it’s 80 degrees and I’m not cold, I’m just wet. My hair is stuck to my forehead and my T-shirt is soaked … and I’m the only one running for cover. And I think: So what? It’s just water and in the middle of the January summer, it’s warm, refreshing water. Why run? Why do we run from the rain?

In my life back in the United States, I might run because I was carrying a leather handbag, or because I wore an outfit that shouldn’t get wet. I would run because rain dishevels and messes things up. Mostly though, we run because we just do; it’s a habit. I’ve done it a hundred times: running to my car or the subway station with a newspaper sheltering my head. I have never not quickened my pace in the rain until today.

It took all of my 27 years and a move to Africa, where I don’t have a leather handbag to shelter or a pretty outfit to protect. I’m wearing an old cotton skirt and a T-shirt, and I’m drenched, and I love it. I learn things here in the most ordinary circumstances. And I feel like a smarter, better woman today because I got groceries in the rain.

But on the long walk home, positively soaked and smiling like a fool, I notice a car pulling over and a man yelling in Afrikaans to get in, get in. I look in the direction I’ve come from and several meters behind me is a woman with a baby tied to her back and an elderly man carrying bags, leading a young boy by the hand. On the road ahead, a woman about my age carries a parcel wrapped in plastic, balanced precariously on her head. There are maybe 20 people walking with me in my reverie of rain and they are black. And the man in the car is white and he’s gesturing frantically for me to get in. Why me? Why not the others? Because I’m white and it’s about race. Everything is about race here.

This man in the car is trying to do something kind and neighborly. He wants to help me and his gesture is right, but his instincts are so wrong. How do you resent someone who is, for no benefit of his own, trying to help? But I do. I resent him and I resent the world he lives in that taught him such selective kindness. This whole event unravels in a few seconds’ time. He’s leaned over and opened the car door, urging me in … and I get in. And we speed past my fellow walkers and he drops me at my doorstep before I have time to think of anything besides giving him directions.

It feels like a mistake because I’m ashamed to think what the Venda women would have felt if he’d ignored them and they had watched me climb into that car. In some ways, the whole episode seems absurd. I’m not going to atone for 400 years of South African history by walking with black people in the rain. If I’d refused his ride, he wouldn’t have thought anything besides the fact that I was certifiably crazy. That’s the thing about being here: I’m not going to change anything. But I believe it matters in some infinitesimal way that people like the Venda women, and the dozens of people who may walk alongside me on any given day, know that I’m there. In black South African culture it is polite to greet every person you pass. That’s what they do, so I do it, too. On the occasional morning, someone might greet me as “sesi,” sister. I have to believe that matters; I know it matters to me.

I was disappointed in myself for getting into the car because I acted according to the same habit that makes us think rain an inconvenience. Just as we run from the rain, I hopped into that car because I’m supposed to. Conventionally, it makes sense. But convention compels us to do so many things that don’t make any sense at all. Convention misinforms our instincts. And in a larger sense, it is convention that propels Afrikaner culture anachronistically into the future. Ten years after the supposed end of apartheid, I’m living in a world of institutionalized racism. Convention becomes institution—and it’s oppressive and it’s unjust. I know that if I’m going to make it here for two more years, I need to walk in the rain. It’s a small, wasted gesture, but it’s an uncorrupted instinct that makes me feel human.

So much about living here feels like that fraction of a second when the Afrikaner man was appealing to my conventional sensibilities and the people on the street were appealing to my human instincts. It may feel unnatural to reject those sensibilities just as, at first, it feels unnatural to walk in the rain. But if I lose a hold on my instincts here, I’ll fail myself and I’ll fail to achieve those tiny things that matter so much. It’s simple and it’s small; and it’s everything. Gandhi said, “Be the change you wish to see in the world.” Indeed. Let it rain.

Comparing and Contrasting London and Washington, DC

Both Washington, DC, and London are capital cities of English-speaking countries, and yet they offer vastly different experiences to their residents and visitors. Comparing and contrasting the two cities based on their history, their culture, and their residents show how different and similar the two are.

Both cities are rich in world and national history, though they developed on very different time lines. London, for example, has a history that dates back over two thousand years. It was part of the Roman Empire and known by the similar name, Londinium. It was not only one of the northernmost points of the Roman Empire but also the epicenter of the British Empire where it held significant global influence from the early sixteenth century on through the early twentieth century. Washington, DC, on the other hand, has only formally existed since the late eighteenth century. Though Native Americans inhabited the land several thousand years earlier, and settlers inhabited the land as early as the sixteenth century, the city did not become the capital of the United States until the 1790s. From that point onward to today, however, Washington, DC, has increasingly maintained significant global influence. Even though both cities have different histories, they have both held, and continue to hold, significant social influence in the economic and cultural global spheres.

Both Washington, DC, and London offer a wide array of museums that harbor many of the world’s most prized treasures. While Washington, DC, has the National Gallery of Art and several other Smithsonian galleries, London’s art scene and galleries have a definite edge in this category. From the Tate Modern to the British National Gallery, London’s art ranks among the world’s best. This difference and advantage has much to do with London and Britain’s historical depth compared to that of the United States. London has a much richer past than Washington, DC, and consequently has a lot more material to pull from when arranging its collections. Both cities have thriving theater districts, but again, London wins this comparison, too, both in quantity and quality of theater choices. With regard to other cultural places like restaurants, pubs, and bars, both cities are very comparable. Both have a wide selection of expensive, elegant restaurants as well as a similar amount of global and national chains. While London may be better known for its pubs and taste in beer, DC offers a different bar-going experience. With clubs and pubs that tend to stay open later than their British counterparts, the DC night life tend to be less reserved overall.

Both cities also share and differ in cultural diversity and cost of living. Both cities share a very expensive cost of living—both in terms of housing and shopping. A downtown one-bedroom apartment in DC can easily cost $1,800 per month, and a similar “flat” in London may double that amount. These high costs create socioeconomic disparity among the residents. Although both cities’ residents are predominantly wealthy, both have a significantly large population of poor and homeless. Perhaps the most significant difference between the resident demographics is the racial makeup. Washington, DC, is a “minority majority” city, which means the majority of its citizens are races other than white. In 2009, according to the US Census, 55 percent of DC residents were classified as “Black or African American” and 35 percent of its residents were classified as “white.” London, by contrast, has very few minorities—in 2006, 70 percent of its population was “white,” while only 10 percent was “black.” The racial demographic differences between the cities is drastic.

Even though Washington, DC, and London are major capital cities of English-speaking countries in the Western world, they have many differences along with their similarities. They have vastly different histories, art cultures, and racial demographics, but they remain similar in their cost of living and socioeconomic disparity.

Sample Student Outline

In “Batman: A Hero for Any Time,” Jacob Gallman-Dreiling compares the traditional portrayal of the superhero Batman with the modern version. As you read, look for the comparison and contrast phrases that the author uses to help the reader understand the argument he is making. What kind of organizational structure does the essay follow?

Jacob Gallman-Dreiling

English 1101

16 March 2013

Thesis : Although the framework of the Batman story always remains the same, the character has been re-imagined over time to suit the changing expectations of a hero through his characterization as well as that of those who surround him, both friends and foes.

Bruce Wayne’s parents are murdered in front of him.
Bruce Wayne grows up to inherit his parents’ fortune.
Batman fights crime with the help of Commissioner Gordon and others.
Batman employs an arsenal of non-lethal weapons to aid him.
Characters could not use concealed weapons.
Stories required “morals.”
Stories could not use kidnapping or excessive violence.
Stories incorporated elements of science fiction.
Stories had limitations on the portrayal of female characters.
Batman’s suits often had ridiculous properties he conveniently prepared for the upcoming mission.
Batman is haunted by the death of his parents.
Batman has become a skilled detective and fighter.
Batman’s suit is more armor than spandex.
Batman is haunted by his mistakes.
Batman and Commissioner Gordon conspire to hide the truth about Harvey Dent from the people of Gotham.
Characters like Ace the Bat-Hound, Bat-Mice, and Batwoman were created to draw in children.
Issues were built around a villain-of-the-week.
Dick Grayson grows up and goes to college.
Batgirl is paralyzed by the Joker.
Joker is given several conflicting backstories explaining his psychosis.
Catwoman has changed from a harmless cat-burglar to a reformed prostitute.

Sample Student Essay

Batman: A Hero for Any Time

Few ideas in this world are as timeless as that of a superhero. The ancient Greeks had Odysseus and Hercules. The British have Sherlock Holmes and Allan Quatermain. The Americans developed the modern concept of the superhero with characters like Superman and Spider-Man and created elaborate stories for the origin of their powers, much like the Greeks used when creating their heroes. While the world of superheroes was originally a white man’s club, the creation of Wonder Woman ushered in a new era of diversity. Now men, women, people of color, even those of differing sexual orientations are represented among the ranks of those who fight against evil. Though teams of superheroes like the Justice League of America and the XMen have enduring popularity, few superheroes have captured the imagination like Batman. Created in 1939 by Bob Kane and Bill Finger, a boy orphaned by violence grows to become the Caped Crusader, avenger of the fictional of Gotham. This comic book hero has spurred film, radio, and television adaptations, has spawned action figures and video games, and has maintained an uninterrupted comic book publication, something few other superhero titles can boast. Although the framework of the Batman story always remains the same, the character has been re-imagined over time to suit the changing expectations of a hero through his characterization as well as through the portrayal of those who surround him, both friends and foes.

The basic framework of the Batman story has stayed the same since his debut in May, 1939. At the age of eight, Bruce Wayne, the son of wealthy socialites, witnesses his parents’ murder at the hands of a desperate mugger and swears to avenge their deaths by waging war on all criminals. He grows up to inherit their fortune and the family company, using the money to fund charitable efforts and to reside in stately Wayne Manor. By night, he becomes Batman, ridding the Gotham City streets of menacing foes like the Joker, the Riddler, and Two-Face. He is aided in his fight by his sidekick Robin, Batgirl, and Commissioner Gordon, as well as his butler Alfred Pennyworth. His most enduring love interest is Selina Kyle, who is also known as the notorious cat-burglar, Catwoman. Batman eschews lethal weaponry such as guns, instead preferring to outwit his foes using his intellect to bring them to justice.

While the key details of Batman’s backstory have remained unchanged for almost seventy-five years, his characterization has changed to suit the ever-evolving expectations of a superhero. When the character debuted in the Silver Age of comics—the decades between 1950 and 1970—he was a sunny, pulpy character: he was billed as the “World’s Greatest Detective” and performed as such, while reflecting what is considered to be a more innocent time. His villains were grand, but he outsmarted them using his intelligence and science. The introduction of the Comics Code Authority in 1954 restricted not only the way that stories were presented but also the types of stories that could be presented. For instance, concealed weapons were forbidden, stories were required to have “morals,” and kidnapping and excessive violence were forbidden. As such, Batman’s stories began incorporating elements of science fiction. As the comics demonstrate, Batman famously repels aliens and an island of animatronic dinosaurs during this period. Also, female characters in the Batman stories of this time are poorly treated. The villain Catwoman had to be shelved due to regulations regarding women and violence, while the original Batwoman was brought on as a potential love interest to quiet the growing assertion of conservative culture warriors that Batman and Robin were, in fact, lovers. When this version of Batwoman was deemed unnecessary, she was written out. This period is also famous for Batman having “batsuits” with heretofore unseen special properties, such as fireproofing and thermal heating.

Modern portrayals of Batman show him as a deeply flawed, psychologically scarred hero. During the 1980s the Comics Code’s influence was waning, and writers like Frank Miller took advantage of this to tell brutal, psychological stories. Haunted by the murder of his parents, a modern Batman is dangerous and calculating. He has returned to his roots as a skilled detective and fighter, which has made him suspicious and paranoid. He is often depicted as having calculated how to defeat his allies, should the need arise, with contingency plans for everyone from Robin to Superman. Modern writers have a young Bruce Wayne train as a ninja before returning to Gotham to become Batman, so greater emphasis is placed on his stealth and fighting skills. The batsuit has reflected this change as well, shifting from a cloth/spandex suit to one that is very clearly body armor, built to withstand bullets and knives.

He is also haunted by his mistakes. After the death of Jason Todd, the second sidekick to go by the codename Robin, Batman spirals into anger and depression over not being able to prevent Jason’s death at the hands of the Joker. For the next decade, Jason’s murder haunts Batman alongside that of his parents as his greatest failure. He puts Jason’s costume on display in the Batcave as motivation. In the 2008 Christopher Nolan film The Dark Knight , Batman and Commissioner Gordon conspire to hide the truth of the popular District Attorney Harvey Dent’s descent into madness so that Gotham City will have a symbol of hope. While that decision is for the good of the city, it leads to Bruce Wayne’s reclusion and an eight year hiatus as Batman. Such dark, psychological stories would never have been allowed during the heyday of the Comics Code Authority.

Just as the portrayal of Batman has shifted to meet the current expectations of a superhero, so too have the depictions of the characters around him, both allies and enemies. During the Silver Age, Batman’s associates are, like Batman himself, light-hearted. Characters like Ace the Bat-Hound and the Bat-Mice were introduced to bring in more young readers, though these characters were rarely seen after 1964. Issues were built around a villain-of-the-week who is purely evil and has no outside motivation. These stories also tend to be episodic with no story arcs or even character arcs. The Joker is originally a calculating murderer, but his character becomes a gleeful trickster to comply with the Code.

As readers matured, the creative forces driving the various Batman outlets were able to tell more complex, meaningful stories. Thus, in modern portrayals, Batman’s associates deal with real, lasting consequences and changes. Beginning with Frank Miller’s The Dark Knight comic series, Batman’s friends begin their trials. Dick Grayson, the original Robin, grows up and goes to college, being replaced by the ill-fated Jason Todd. He becomes a hero in his own right, going by the codename Nightwing and becoming the leader of the Teen Titans. In the seminal 1988 graphic novel The Killing Joke , Batgirl is partially paralyzed by the Joker, who shoots her through her spine as part of an effort to drive her father, Commissioner Gordon, insane. This condition lasts until the DC-Universe-wide reboot in 2011, and she is now able to walk and has resumed the mantle of Batgirl. The Joker himself has been given many different backstories, all of them horrific. Filmmakers give a nod to the Joker’s varied backstories in the film The Dark Knight by having the Joker give conflicting accounts of how he received his trademark scars. Catwoman is originally just a bored housewife who turns to crime, but beginning in the 1980s her story retroactively changes to her being a prostitute who turns to burglary to buy freedom for herself and her sister. Once a staunch villain of Batman, this new version of the character is portrayed more as an antihero; though she is not necessarily an upstanding citizen, the new Catwoman will join forces with Batman to fight evil when it suits her. These stories appeal to an audience craving depth and substance to their characters, far different from the Pre-Vietnam War era Batman stories.

While the key details to the Batman story never change, the way the character has been presented has changed over time, as has the way his associated characters have been presented. It is perhaps this adaptability that has allowed Batman to flourish in popularity for almost seventy-five years, with no signs of that popularity waning. As the demographic for Batman’s stories matures, the power wielded by the Comics Code Authority has diminished, making darker, more meaningful stories possible. Previously one dimensional characters were given subtleties and nuances, much in the way modern film versions depict the heroes of old, from Odysseus to Sherlock Holmes. As society’s norms change, this change is reflected in the way films, stories, and comic books depict superheroes. With all the changes occurring in culture worldwide, who knows what the next generation’s Batman will be like?

External Links

“ Disability ” ( https://tinyurl.com/y99te6e2 ) by Nancy Mairs: In “Disability,” writer Nancy Mairs discusses the experience of being a disabled person in a world focused on the able-bodied. It seems to be titled “Hers” but it is the correct essay.

“ Friending, Ancient or Otherwise ” ( https://tinyurl.com/y85u8ae8 ) by Alex Wright: In “Friending, Ancient or Otherwise,” writer Alex Wright explores the evolution and purpose of friendship in the age of social media.

“ Sex, Lies and Conversation: Why Is It So Hard for Men and Women to Talk to Each Other ? ” ( https://tinyurl.com/y95dpehx ) by Deborah Tannen. In this essay, Tannen compares and contrasts conversation styles. You can view the essay here ( https://tinyurl.com/y9vnjqv8 ) also.

Contributors and Attributions

Adapted from Successful College Composition (Crowther et al.) . Sourced from LibreTexts , licensed under CC BY-NC-SA .

Adapted from Let's Get Writing (Browning, DeVries, Boylan, Kurtz and Burton) . Sourced from LibreTexts , licensed under CC BY-NC-SA .

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How to Write a Comparative Essay

Last Updated: May 19, 2023 Fact Checked

This article was co-authored by Christopher Taylor, PhD . Christopher Taylor is an Adjunct Assistant Professor of English at Austin Community College in Texas. He received his PhD in English Literature and Medieval Studies from the University of Texas at Austin in 2014. There are 8 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 1,683,276 times.

Perhaps you have been assigned a comparative essay in class, or need to write a comprehensive comparative report for work. In order to write a stellar comparative essay, you have to start off by picking two subjects that have enough similarities and differences to be compared in a meaningful way, such as two sports teams or two systems of government. Once you have that, then you have to find at least two or three points of comparison and use research, facts, and well-organized paragraphs to impress and captivate your readers. Writing the comparative essay is an important skill that you will use many times throughout your scholastic career.

Comparative Essay Outline and Example

How to Develop the Essay Content

Step 1 Analyze the question or essay prompt carefully.

Many comparative essay assignments will signal their purpose by using words such as "compare," "contrast," "similarities," and "differences" in the language of the prompt.
Also see whether there are any limits placed on your topic.

Step 2 Understand the type of comparison essay you are being asked to write.

The assignment will generally ask guiding questions if you are expected to incorporate comparison as part of a larger assignment. For example: "Choose a particular idea or theme, such as love, beauty, death, or time, and consider how two different Renaissance poets approach this idea." This sentence asks you to compare two poets, but it also asks how the poets approach the point of comparison. In other words, you will need to make an evaluative or analytical argument about those approaches.
If you're unclear on what the essay prompt is asking you to do, talk with your instructor. It's much better to clarify questions up front than discover you've written the entire essay incorrectly.

Step 3 List similarities and differences between the items you are comparing.

The best place to start is to write a list of things that the items you are comparing have in common as well as differences between them. [3] X Research source

Step 4 Evaluate your list to find your argument.

You may want to develop a system such as highlighting different types of similarities in different colors, or use different colours if you are using an electronic device.
For example, if you are comparing two novels, you may want to highlight similarities in characters in pink, settings in blue, and themes or messages in green.

Step 5 Establish the basis for your comparison.

The basis for your comparison may be assigned to you. Be sure to check your assignment or prompt.
A basis for comparison may have to do with a theme, characteristics, or details about two different things. [7] X Research source
A basis for comparison may also be known as the “grounds” for comparison or a frame of reference.
Keep in mind that comparing 2 things that are too similar makes it hard to write an effective paper. The goal of a comparison paper is to draw interesting parallels and help the reader realize something interesting about our world. This means your subjects must be different enough to make your argument interesting.

Step 6 Research your subjects of comparison.

Research may not be required or appropriate for your particular assignment. If your comparative essay is not meant to include research, you should avoid including it.
A comparative essay about historical events, social issues, or science-related topics are more likely to require research, while a comparison of two works of literature are less likely to require research.
Be sure to cite any research data properly according to the discipline in which you are writing (eg, MLA, APA, or Chicago format).

Your thesis needs to make a claim about your subjects that you will then defend in your essay. It's good for this claim to be a bit controversial or up for interpretation, as this allows you to build a good argument.

How to Organize the Content

Use a traditional outline form if you would like to, but even a simple list of bulleted points in the order that you plan to present them would help.
You can also write down your main points on sticky notes (or type them, print them, and then cut them out) so that you can arrange and rearrange them before deciding on a final order.

The advantages of this structure are that it continually keeps the comparison in the mind of the reader and forces you, the writer, to pay equal attention to each side of the argument.
This method is especially recommended for lengthy essays or complicated subjects where both the writer and reader can easily become lost. For Example: Paragraph 1: Engine power of vehicle X / Engine power of vehicle Y Paragraph 2: Stylishness of vehicle X / Stylishness of vehicle Y Paragraph 3: Safety rating of vehicle X / Safety rating of vehicle Y

Step 3 Alternate the subjects in each paragraph.

The advantages of this structure are that it allows you to discuss points in greater detail and makes it less jarring to tackle two topics that radically different.
This method is especially recommended for essays where some depth and detail are required. For example: Paragraph 1: Engine power of vehicle X Paragraph 2: Engine power of vehicle Y Paragraph 3: Stylishness of vehicle X Paragraph 4: Stylishness of vehicle Y Paragraph 5: Safety rating of vehicle X Paragraph 6: Safety rating of vehicle Y

Step 4 Cover one subject at a time thoroughly.

This method is by far the most dangerous, as your comparison can become both one-sided and difficult for the reader to follow.
This method is only recommended for short essays with simplistic subjects that the reader can easily remember as (s)he goes along. For example: Paragraph 1: Engine power of vehicle X Paragraph 2: Stylishness of vehicle X Paragraph 3: Safety rating of vehicle X Paragraph 4: Engine power of vehicle Y Paragraph 5: Stylishness of vehicle Y Paragraph 6: Safety rating of vehicle Y

How to Write the Essay

Body paragraphs first . Work through all that information you've been compiling and see what kind of story it tells you. Only when you've worked with your data will you know what the larger point of the paper is.
Conclusion second . Now that you've done all the heavy lifting, the point of your essay should be fresh in your mind. Strike while the iron’s hot. Start your conclusion with a restatement of your thesis.
Intro last . Open your introduction with a "hook" to grab the reader's attention. Since you've already written your essay, choose a hook that reflects what you will talk about, whether it's a quote, statistic, factoid, rhetorical question, or anecdote. Then, write 1-2 sentences about your topic, narrowing down to your thesis statement, which completes your introduction.

Organize your paragraphs using one of the approaches listed in the "Organizing the Content" part below. Once you have defined your points of comparison, choose the structure for the body paragraphs (where your comparisons go) that makes the most sense for your data. To work out all the organizational kinks, it’s recommended that you write an outline as a placeholder.
Be very careful not to address different aspects of each subject. Comparing the color of one thing to the size of another does nothing to help the reader understand how they stack up. [15] X Research source

Be aware that your various comparisons won’t necessarily lend themselves to an obvious conclusion, especially because people value things differently. If necessary, make the parameters of your argument more specific. (Ex. “Though X is more stylish and powerful, Y’s top safety ratings make it a more appropriate family vehicle .”)
When you have two radically different topics, it sometimes helps to point out one similarity they have before concluding. (i.e. "Although X and Y don't seem to have anything in common, in actuality, they both ....”)

Even the best writers know editing is important to produce a good piece. Your essay will not be your best effort unless you revise it.
If possible, find a friend to look over the essay, as he or she may find problems that you missed.
It sometimes helps to increase or decrease the font size while editing to change the visual layout of the paper. Looking at the same thing for too long makes your brain fill in what it expects instead of what it sees, leaving you more likely to overlook errors.

Expert Q&A

The title and introduction really catch the reader's attention and make them read the essay. Make sure you know how to write a catchy essay title . Thanks Helpful 6 Not Helpful 1
Quotes should be used sparingly and must thoroughly complement the point they are being used to exemplify/justify. Thanks Helpful 5 Not Helpful 2
The key principle to remember in a comparative paragraph or essay is that you must clarify precisely what you are comparing and keep that comparison alive throughout the essay. Thanks Helpful 3 Not Helpful 2

Avoid vague language such as "people," "stuff," "things," etc. Thanks Helpful 4 Not Helpful 0
Avoid, at all costs, the conclusion that the two subjects are "similar, yet different." This commonly found conclusion weakens any comparative essay, because it essentially says nothing about the comparison. Most things are "similar, yet different" in some way. Thanks Helpful 4 Not Helpful 0
Some believe that an "unbalanced" comparison - that is, when the essay focuses predominantly on one of the two issues, and gives less importance to the other - is weaker, and that writers should strive for 50/50 treatment of the texts or issues being examined. Others, however, value emphasis in the essay that reflects the particular demands of the essay's purpose or thesis. One text may simply provide context, or historical/artistic/political reference for the main text, and therefore need not occupy half of the essay's discussion or analysis. A "weak" essay in this context would strive to treat unequal texts equally, rather than strive to appropriately apportion space to the relevant text. Thanks Helpful 3 Not Helpful 0
Beware of the "Frying Pan Conclusion" in which you simply recount everything that was said in the main body of the essay. While your conclusion should include a simple summary of your argument, it should also emphatically state the point in a new and convincing way, one which the reader will remember clearly. If you can see a way forward from a problem or dilemma, include that as well. Thanks Helpful 2 Not Helpful 1

↑ http://writingcenter.unc.edu/handouts/comparing-and-contrasting/
↑ http://www.writing.utoronto.ca/advice/specific-types-of-writing/comparative-essay
↑ https://writingcenter.unc.edu/tips-and-tools/comparing-and-contrasting/
↑ http://writingcenter.fas.harvard.edu/pages/how-write-comparative-analysis
↑ https://www.butte.edu/departments/cas/tipsheets/style_purpose_strategy/compare_contrast.html
↑ https://open.lib.umn.edu/writingforsuccess/chapter/10-7-comparison-and-contrast/
↑ https://owl.purdue.edu/owl/general_writing/the_writing_process/proofreading/steps_for_revising.html
How to Structure Paragraphs in an Essay

About This Article

To write a comparative essay, start by writing an introduction that introduces the 2 subjects you'll be comparing. You should also include your thesis statement in the introduction, which should state what you've concluded based on your comparisons. Next, write the body of your essay so that each paragraph focuses on one point of comparison between your subjects. Finally, write a conclusion that summarizes your main points and draws a larger conclusion about the two things you compared. To learn how to do research for your essay, read on! Did this summary help you? Yes No

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Transition Words For A Compare And Contrast Essay

Table of contents

1 What Are Comparison Transition Words?
2.1 Comparison Words
2.2 Contrast Words
2.3 Universal Transition words for compare and contrast essays
3.1 Comparison
3.2 Contrast

Many students today have to deal with writing complex and time-consuming essays. These include topics where two different viewpoints have to be introduced and debated. For more professional essay help like this and plenty of other writing resources related to using transition words for compare and contrast essays.

So what do we mean by compare and contrast transition words? Before we delve into these two terms, let’s look at what a ‘transition word’ is. Simply put, transition words describe the relationship between two ideas; they are words for similarities and differences. If we were to dissect their purposes to a more nuanced degree, they can:

Show vague or strong similarities between one concept and another

Show a correlation between one concept and another

Show a causal relationship between one concept and the other

Show the opposing natures of one concept and another

What Are Comparison Transition Words?

As the name clearly implies, they are transition words that establish a comparison or a contrast between one thing and another. These are very useful and quite widely used in any form of writing. The overall effect of comparing and contrasting expressions is that they make your essays flow much better. Using them ensures that every point you introduce in the piece has a context for each other. It may seem confusing to some, so if you don’t want to go into detail, you can buy essays online and not worry about your grades.

Compare And Contrast Transition Words: Defined And Explained

Comparison words.

What are some ‘similarity transition words or transition words’ for explaining what two things have in common? Here are a few comparison transition words examples :

In the same way
In like manner
By the same token

Hence, for example, if you were describing the likeness between the speeds of two different subspecies of lions, you could word it like so: ‘subspecies A can reach speeds up to 40 mph. Similarly, subspecies B can achieve a maximum of 35 mph.

Could “in addition” transitions also fit into the domain of comparative phrases?

The answer is “yes.” It is possible to link multiple traits or features to one entity. For instance, if you want to discuss the multiple benefits of exercise but don’t want your sentences to be too lengthy. You could use compare transition words like ‘in addition’ and “furthermore” to list more benefits in a new sentence. Here are a few examples of these comparison transition signals in use:

“Keeping your tires properly inflated can help prevent random blowouts on the road. In addition, it will also mean that you don’t have to spend money as often to replace them.”
“A morning cup of coffee will give you the energy you need to start the day. Furthermore, it will make sure that you don’t get grumpy as the day progresses.”
“Learning to play instruments as a family will help you become much closer with each other. On top of that, you’ll have a really great time.”

Contrast Words

What is a comparison transition signal, and what would we do without transitions signifying contrast? There would be no way for us to articulate our polar, different, and conflicting ideas, so debates could not exist. Therefore, contrast words are very important to any essay.

Let’s take a look at some different “categories” of these contrasting words:

What are some “opposite” transition words or phrases?

In contrast
At the other end of the spectrum

What are some “difference” transition words or phrases?

Dissimilarly
A clear difference

What are some ‘conflict’ transition words or phrases?

Nevertheless
On the one hand
On the other hand

Transition words for compare and contrast essays are important for academic essay writers to include in their writing. They help connect ideas and points in a compare-and-contrast essay and make the argument or point more easily understood. Transition words for compare and contrast essays can help make an essay more effective and structured. They can link ideas and facts, create emphasis, and help to organize information.

Universal Transition words for compare and contrast essays

Not everything is black and white in terms of which words fit into which category of transition words. There are, in fact, grey areas where words can be used to both compare and contrast depending on the context. Let’s take a look at these grey areas.

Signal words for compare and contrast – what are they?

These are general words that fall under both contrast and comparative phrases. For example:

At the same time
On the same token

What are summary transition words and phrases?

These are words that can be both contrast and comparative terms, which can help tie many points together during a wrap-up. These include:

All things considered
To summarize
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Comparison And Contrast Example Sentences

One of the best ways to learn about something is to see how it is applied. Hence, we’ve compiled a large list of comparison and contrast phrases in action.

Here’s how these transition phrases are applied:

Regular cardio exercise does wonders for your overall heart health. Likewise, it contributes to the betterment of your mental health.
Listening to your spouse and adjusting your behavior to address their concerns can do wonders for your marriage. In the same way, arranging spontaneous fun dates can certainly throw more excitement into things.
Leonardo Da Vinci and Francisco Goya were renowned painters in their respective eras. Similarly, Hieronymus Bosch was an accomplished painter whose works are still revered today.
Followers of Islam believe that there is only one God in existence. In like manner, Christianity is also a monotheistic religion.
Be careful not to harm yourself while roofing your own house. Moreover, take measures to keep tools from falling down and accidentally injuring passersby.
The average life expectancy is greater than it was ten years ago. Furthermore, studies have shown that people are also happier now.
I don’t think I’ll ever quit eating ice cream. Besides, I exercise daily and take great care of my teeth.
Make sure you make a habit of keeping an eye on the fluid levels of your car. That, coupled with regular inspection of your tires, should ensure that your vehicle remains healthy for a long while.
The number of college-educated people is on the rise as well as the number of women in the STEM fields.

Let’s take a look at a few examples of how contrast transition words are used in essays:

People who play basketball are generally quite tall. In contrast, gymnasts and jockeys are typically short.
India is an undeniably beautiful country with a rich heritage and vibrant culture. Nevertheless, the country’s reputation has been tarnished over the years due to its rampant corruption problems.
On the one hand, a career in the military earns a lot of respect from everyone. On the other hand, soldiers tend to experience severe depression fairly commonly.
People of the Christian faith strongly believe in the afterlife, while Hindus and Buddhists preach the concept of reincarnation and nirvana.
Both vegans and vegetarians avoid the consumption of meat. However, the former also avoids all animal products in all instances.
Bohemian Rhapsody received largely negative reviews from critics when it was released. At the same time, it helped propel them into stardom.
Everyone expects life to go smoothly all the time. In truth, it is filled with constant ups and downs.
Feminism is on the rise now, but so is resistance to it.

Using transition words in your paper can elevate your writing to a whole new level since these words make your writing more professional and strengthen the connections between the ideas and concepts you describe. Using transitions wisely is where the difference between a good and a great writer is, so let’s find out more about those.

As you can see from the name, these words indicate either similarity or contradiction between different concepts or ideas you describe. You can click here to find out more about those and the proper ways to use them or use some help with essay writing. You can choose any of those as long as they fit the context.

Those are fairly simple, and you can put them between ideas that either entail one another or do not contradict directly. These are:

Consequently
In the same manner

You can use those whenever a continuation of your ideas is in order.

Contrasting

In contrast to the comparison transitions, these serve to draw the line between the ideas you describe and show your reader that right now, you are about to talk about something entirely different in nature:

Nonetheless

These and other similar words make it easier to define the difference between the ideas you describe.

Using transition words requires some finesse because you should never stuff your essays too much with those. Use them wisely and only where necessary, and your writing will reach a new level.

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Academic Phrasebank

Compare and contrast.

GENERAL LANGUAGE FUNCTIONS
Being cautious
Being critical
Classifying and listing
Defining terms
Describing trends
Describing quantities
Explaining causality
Giving examples
Signalling transition
Writing about the past

By understanding similarities and differences between two things, we can increase our understanding and learn more about both. This usually involves a process of analysis, in which we compare the specific parts as well as the whole. Comparison may also be a preliminary stage of evaluation. For example, by comparing specific aspects of A and B, we can decide which is more useful or valuable. Many paragraphs whose function is to compare or contrast will begin with an introductory sentence expressed in general terms.

Introducing differences

X is different from Y in a number of respects. X differs from Y in a number of important ways. There are a number of important differences between X and Y. Areas where significant differences have been found include X and Y. In contrast to earlier findings, however, no evidence of X was detected. A descriptive case study differs from an exploratory study in that it uses … Smith (2015) found dramatic differences in the rate of decline of X between Y and Z. Women and men differ not only in physical attributes but also in the way in which they … The nervous systems of Xs are significantly different from those of Ys in several key respects.

Introducing similarities

Both X and Y share a number of key features. There are a number of similarities between X and Y. The effects of X on human health are similar to those of Y. Both X and Y generally take place in a ‘safe environment’. These results are similar to those reported by (Smith et al. 1999). This definition is similar to that found in (Smith, 2001) who writes: The return rate is similar to that of comparable studies (e.g. Smith et al. 1999). The approach used in this investigation is similar to that used by other researchers. Studies have compared Xs in humans and animals and found that they are essentially identical.

Comparing within one sentence

Comparing within one sentence: comparative forms.

In the trial, women made more/fewer errors than men. Women tend to have greater/less verbal fluency than men. Women are more/less likely than men to perform well in tests. Women are more/less accurate in tests of target-directed motor skills. Women tend to perform better/worse than men on tests of perceptual speed. Women are faster/slower than men at certain precision manual tasks, such as … Women are more/less likely to suffer from X when the front part of the brain is damaged. The part of the brain connecting the two hemispheres may be more/less extensive in women.

Indicating difference across two sentences

Indicating similarity across two sentences.

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Updated 14/07/2022

What Is a Comparative?
What Are You Expected To Cover? (Comparative Criteria)
School Assessed Coursework (SAC), Exams and Allocated Marks
How To Prepare for Your Comparative SAC and Exam
How To Write a Comparative Essay

1. What Is a Comparative?

Comparative is also known as 'Reading and Comparing', 'Comparative Essay' and less frequently, 'Compare and Contrast'. For our purposes, we'll just stick to 'Comparative'.

As its name may indicate, a Comparative is when you analyse and write on two texts, comparing their similarities and differences. In VCE, there are 8 pairs of texts Year 12s can choose from (or more accurately, your school chooses for you!). The most popular combination of texts include novels and films, however, plays also make it onto the list.

When you start doing Comparative at school, you will move through your texts just as you have for Text Response (except...instead of one text it's actually two) - from watching the film and/or reading the novel, participating in class discussions about similar and different themes and ideas, and finally, submitting one single essay based on the two texts. So yep, if you've only just gotten your head around Text Response, VCAA likes to throw a spanner in the works to keep you on your toes!

But, don't worry. The good news is all of your Text Response learning is applicable to VCE’s Comparative, and it's really not as hard as it might first appear. Here's a video I created introducing Comparative ( I've time-stamped it to start at 0:55 - when the Comparative section starts - thank me later! ).

‍ 2. What Are You Expected To Cover? (Comparative Criteria)

What are teachers and examiners expecting to see in your essays? Below are the VCE criteria for Comparative essays (sourced from the VCAA English examination page ).

Note: Some schools may express the following points differently, however, they should all boil down to the same points - what is necessary in a Comparative essay.

a) Knowledge and understanding of both texts, and the ideas and issues they present

Society, history and culture all shape and influence us in our beliefs and opinions. Authors use much of what they’ve obtained from the world around them and employ this knowledge to their writing. Understanding their values embodied in texts can help us, as readers, identify and appreciate theme and character representations.

For example: Misogyny is widespread in both Photograph 51 and The Penelopiad , and both writers explore the ways in which females deal with such an environment. Photograph 51 is set in the 1950s when women begun to enter the workforce, whereas The Penelopiad is set in Ancient Greece, a period when women were less likely to speak out against discrimination.

b) Discussion of meaningful connections, similarities or differences between the texts, in response to the topic;

More about this later in 4. How To Prepare for Your Comparative SAC and Exam, Step 2: Understand both your texts - as a pair (below) .

c) Use of textual evidence to support the comparative analysis

While you should absolutely know how to embed quotes in your essay like a boss , you want to have other types of evidence in your Comparative essay. You must discuss how the author uses the form that he/she is writing in to develop their discussion. This encompasses a huge breadth of things from metaphors to structure to language.

For example: "The personification of Achilles as ‘wolf, a violator of every law of men and gods', illustrates his descent from human to animal..." or "Malouf’s constant use of the present voice and the chapter divisions allow the metaphor of time to demonstrate the futility and omnipresence of war..."

To learn more about metalanguage, read our What Is Metalanguage? post.

d) Control and effectiveness of language use, as appropriate to the task.

When examiners read essays, they are expected to get through about 12-15 essays in an hour! This results in approximately 5 minutes to read, get their head around, and grade your essay - not much time at all! It is so vital that you don’t give the examiner an opportunity to take away marks because they have to reread certain parts of your essay due to poor expression and grammar.

3. School Assessed Coursework (SAC), Exams and Allocated Marks

Comparative is the first Area of Study (AoS 1) in Unit 2 (Year 11) and Unit 4 (Year 12) - meaning that majority of students will tackle the Comparative SAC in Term 3. The number of allocated marks are:

Unit 2 – dependant on school
Unit 4 – 60 marks (whopper!)

The time allocated to your SAC is school-based. Schools often use one or more periods combined, depending on how long each of your periods last. Teachers can ask you to write anywhere from 900 to 1200 words for your essay (keep in mind that it’s about quality, not quantity!)

In your exam, you get a whopping total of 3 hours to write 3 essays ( Text Response , Comparative, and Language Analysis ). The general guide is 60 minutes on Comparative, however, it is up to you exactly how much time you decide to dedicate to this section of the exam. Your Comparative essay will be graded out of 10 by two different examiners. Your two unique marks from these examiners will be combined, with 20 as the highest possible mark.

4. How To Prepare for Your Comparative SAC and Exam

Preparation is a vital component in how you perform in your SACs and exam so it’s always a good idea to find out what is your best way to approach assessments. This is just to get you thinking about the different study methods you can try before a SAC. Here are my top strategies (ones I actually used in VCE) for Comparative preparation that can be done any time of year (including holidays - see How To Recharge Your Motivation Over the School Holidays for more tips):

Step 1: Understand each text - individually

This doesn’t mean reading/watching your texts a specific amount of times (though twice is usually a recommended minimum), but rather, coming to an understanding of your texts. Besides knowing important sections, quotes, themes and characters (which are still important and which you should definitely know), here are some other matters which are also necessary to consider:

Why has it been chosen by VCAA (out of literally millions of other books)?
Why are you reading it (especially if it’s an old text, and how it’s still important throughout the ages)?
Why did the author write it?
What kind of social commentary exists within the text (especially on specific issues and themes)?

These kinds of questions are important because quite often in this area of study, you’ll be defending and interpreting your own ideas alongside the author’s. When you find a solid interpretation of the text as a whole, then no essay topic will really throw you off - because you’ll know already what you think about it. Moreover, because you’re comparing two texts in this section, understanding a text and being specific (e.g. 'both texts argue that equality is important' vs. 'while both texts A and B agree with the notion of equality, A focuses on ____ whereas B highlights ____') will help your writing improve in sophistication and depth.

If you need any more tips on how to learn your texts in-depth, Susan's (English study score 50) Steps for Success in Text Study guide provides a clear pathway for how to approach your texts and is a must read for VCE English students!

And, if you're studying texts you hate (ugh!), you'll also want to check out Lavinia's guide which teaches you how to do well even when you hate your texts .

Step 2: Understand both your texts - as a pair

Avoid simply drawing connections between the texts which are immediately obvious. When writing a Comparative, the key strategy that'll help you stand out from the crowd is the CONVERGENT and DIVERGENT strategy . I discuss this in more detail below, under 'eBooks'.

We'll use George Orwell's Animal Farm and Shakespeare's Macbeth as an example ( don't worry if you haven't studied either of these texts, it's just to prove a point ). The most obvious connection simply from reading the plot is that both Napoleon and Macbeth are powerful leaders. However, you want to start asking yourself more questions to develop an insightful comparison between the two men:

For example: In Macbeth and Animal Farm a common theme is power

Q: How do they achieve power?

A: In Animal Farm , Napoleon is sly about his intentions and slowly secures his power with clever manipulation and propaganda. However , Shakespeare’s Macbeth adopts very different methods as he uses violence and abuse to secure his power.

Q: How do they maintain power?

A: Both Napoleon and Macbeth are tyrants who go to great length to protect their power. They believe in killing or chasing away anyone who undermines their power.

Q: What is the effect of power on the two characters?

A: While Macbeth concentrates on Macbeth’s growing guilty conscience and his gradual deterioration to insanity, Animal Farm offers no insight into Napoleon’s stream of consciousness. Instead, George Orwell focuses on the pain and suffering of the animals under Napoleon’s reign. This highlights Shakespeare’s desire to focus on the inner conflict of a man, whereas Orwell depicted the repercussions of a totalitarian regime on those under its ruling.

Check out our comparative scene analysis of The Longest Memory & The 7 Stages of Grieving for another example of understanding texts as a pair!

Step 3: Know your comparative words

Having a list of comparative words will help you understand your texts as a pair, and helps make your life easier when you start writing your essays. Here's a list we've compiled below:

Similarities

Additionally
At the same time
Correspondingly
Furthermore
In addition
In parallel

Differences

Compared to
Despite that
Even though
In contrast
Nevertheless
On the contrary
On the other hand
Nonetheless

Feel free to download the PDF version of this list for your own studies as well!

Step 4: Understand the construction of your texts

Besides comparing ideas and themes, and having an understanding of what the text says, it’s also imperative that you understand HOW the texts say it. This type of analysis focuses on metalanguage (also known as literary devices or literary techniques). When you get technical with this and focus on metalanguage, it brings out more depth in your writing.

You could start asking yourself:

What kind of description is used?
What kind of sentences are used?
Are they long and winding or rather short and bare?
Are they dripping with adjectives or snappy?
What is the structure of the text?
Does one begin with a prologue/end with an epilogue?
Is the text continuous or divided e.g. through letters or days or parts?
Does the text end at a climax or end with a true finality?
What reoccurs throughout the text? (specific lines, symbols or images)

These kinds of understanding are important as they are evidentiary material for your arguments. What you say and believe the authors have said, as well as how you believe the texts differ, may rely heavily on these techniques. You'd then translate this analysis to develop your arguments further in your essay. For example:

His depiction of Chapel serves as a subversion of the conventional type of slave; he is 'half a slave, half the master' and belongs to 'another way of life'. His defiance and rebellion against the dictations of society is exemplified through his speech, which consists of rhythmic and poetic couplets, filled with flowery language; which ultimately challenges the idea of illiterate slaves.

Step 5: Read and watch Lisa's Study Guides' resources

Doing this study all by yourself can be rather daunting, so we've got your back. We specialise in supporting VCE English students by creating helpful videos, study guides and ebooks. Here are some just to get your started:

YouTube Videos

We create general study advice videos like this:

We also create Comparative pair-specific videos:

If you prefer learning through videos, check out our entire YouTube channel (and don't forget to subscribe for regular new videos!).

Study Guides

Our awesome team of English high-achievers have written up study guides based on popular VCE texts. Here's a compilation of all the ones we've covered so far including current and older text pairs:

Bombshells and The Penelopiad

I Am Malala and Pride

Reckoning and The Namesake

Reckoning and The Namesake (Quote Analysis)

Ransom and Invictus

Ransom and The Queen

Stasiland and 1984

Stasiland and Never Let Me Go

Stasiland and Never Let Me Go (yes this is a different guide to the one above!)

The Crucible and The Dressmaker

The Crucible and The Dressmaker (Understanding Context)

The Crucible and Year of Wonders

The Hate Race and Charlie's Country

The Longest Memory and Black Diggers

The Longest Memory and The 7 Stages of Grieving

The Penelopiad and Photograph 51

Tracks and Charlie's Country

Tracks and Into the Wild

Tip: You can download and save the study guides for your own study use! How good is that?

And if that isn't enough, I'd highly recommend my How To Write A Killer Comparative ebook. What's often the most difficult part of Comparative is finding the right examples and evidence to ensure that you're standing out against hundreds of other students studying VCE.

Unlike Text Response where there are over 30 texts for schools to choose from, Comparative only has 8 pairs of texts. This means that the likelihood of other students studying the same texts as you is much higher. And what does that mean?

It means that your competition is going to be even tougher. It's likely the character or quote you plan to use will also be used by other students. So, this means that there needs to be a way for you to differentiate yourself. Enter my golden CONVERGENT and DIVERGENT strategy .

This strategy can be used for any example you wish to use, but by approaching your example with the CONVERGENT and DIVERGENT mindset, you'll immediately be able to establish a unique perspective that should earn you some bonus marks.

If you've ever had a teacher tell you that you needed to ‘elaborate’, ‘go into more detail’, or ‘more analysis’ needed in your essays - this strategy will help eliminate all those criticisms. It will also show your teacher how you are comfortable writing an in-depth analysis using fewer examples, rather than trying to overload your essay with as many examples as possible because you barely have anything to say about each one.

To learn more about the CONVERGENT and DIVERGENT strategy, get a free preview of this study guide on the Shop page or at the bottom of this blog.

Step 6: Brainstorm and write plans

Once you've done some preliminary revision, it's time to write plans! Plans will help ensure you stick to your essay topic, and have a clear outline of what your essay will cover. This clarity is crucial to success in a Comparative essay.

Doing plans is also an extremely time-efficient way to approach SACs. Rather than slaving away hours upon hours over writing essays, writing plans will save you the burnout and get you feeling confident faster.

I've also curated essay topic breakdown videos based on specific VCE texts. In these videos, I explore keywords, ideas and how I'd plan an essay with corresponding examples/evidence.

Step 7: Get your hands on essay topics

Often, teachers will provide you with a list of prompts to practice before your SAC. Some teachers can be kind enough to nudge you in the direction of a particular prompt that may be on the SAC. If your teacher hasn’t distributed any, don’t be afraid to ask.

We have a number of free essay topics curated by our team at LSG, check some of them out:

I Am Malala and Made In Dagenham Prompts

Ransom and Invictus Prompts

Stasiland and Never Let Me Go Prompts

The Crucible and Year Of Wonders Prompts

The Penelopiad and Photograph 51 Prompts

Psst...see these fully annotated sample essays where we show you exactly how we analysed the prompt, brainstormed our ideas and created a plan for our essay:

Comparing Photograph 51 and The Penelopiad: Essay Topic Breakdown

Ransom and The Queen: Comparative Essay Topic Breakdown

The Longest Memory and Black Diggers - A Comparative Essay Breakdown

‍ Step 8: Write essays

Yes, sad but it’s a fact. Writers only get better by actually writing . Even if you just tackle a couple of essays then at least you will have started to develop a thinking process that will help you to set out arguments logically, utilise important quotes and time yourself against the clock. It will help you write faster as well – something that is a major problem for many students. With that said, let's get into how to write a Comparative next.

‍ 5. How To Write a Comparative Essay

Comparative essay structure.

Here are a couple of resources to get your Comparative essay structure sorted. Firstly a video (time-stamped at 1:38) :

Secondly, jump over to Sarah's (English study score 47) Compare the Pair: A Guide to Structuring a Reading and Comparing Essay post where she delves into two different types of Comparative essay structures.

Comparative Essay Example

Introduction.

In an introduction, you're expected to have the following:

Context (or background)
Both authors' (or director's) names
Both text titles
Main arguments

Here's an example from Mida (English study score 43), in her post The Longest Memory and Black Diggers - A Comparative Essay Breakdown :

The hopes and dreams of oppressed individuals can be fulfilled to a certain extent. This degree of fulfilment, however, can ultimately become restricted by the entrenched beliefs and dictations of society; and thus, this process of fulfilment is presented to be difficult and rare to achieve. In Fred D’Aguiar’s novella, The Longest Memory , the hopes and dreams for equality and racial acceptance is revealed to coerce oppressed individuals to subvert social norms, all in an attempt to gain liberty and fairness. Similarly, Tom Wright’s play, Black Diggers , explores the collective yearning of oppressed Indigenous Australians who seek to gain a sense of belonging and recognition in society. Both D’Aguiar and Wright expose how the obstacles of social inequality, deep-rooted prejudice and beliefs can essentially restrict the fulfilment of such desires and dreams.

Try to keep your introduction to the point. There's no need to prolong an introduction just to make a set number of sentences. It's always better to be concise and succinct, and move into your main body paragraphs where the juicy contents of your essay resides.

Body Paragraph

Most of you will be familiar with TEEL learnt in Text Response. TEEL can stand for:

Topic sentence
Linking sentence

If your teacher or school teaches you something slightly different that's okay too. At the end of the day, the foundations are the same.

In Comparative, you can still use TEEL, except that you'll be making comparisons between the two texts throughout your paragraph.

The below example adopts the 'Alternate' Comparative essay structure where the first part of the body paragraph focuses on Text 1 ( The Longest Memory ) and the second half of the body paragraph focuses on Text 2 ( Black Diggers ).

The ambitions of the oppressed are achieved to a certain extent. However, they are not maintained and thus become restricted due to the beliefs and conventions entrenched in society. D’Aguiar asserts that a sense of liberation can indeed be achieved in the unjust system of slavery, and this is demonstrated through his characterisation of Chapel. His depiction of Chapel serves as a subversion of the conventional type of slave; he is 'half a slave, half the master' and belongs to 'another way of life'. His defiance and rebellion against the dictations of society is exemplified through his speech, which consists of rhythmic and poetic couplets, filled with flowery language; which ultimately challenges the idea of illiterate slaves. D’Aguiar also associates the allusion of the 'two star-crossed lovers' in regards to the relationship between Lydia and Chapel; who were 'forbidden' to 'read together'. Despite this, the two characters take on a form of illicit, linguistic, sexual intercourse with each other, as they 'touch each other’s bodies in the dark' and 'memorise [their] lines throughout'. Here, D’Aguiar illustrates their close intimacy as a form of rebellion against the Eurocentric society, who believed such interrelation between blacks and whites was 'heinous' and 'wicked'. The individualistic nature of Chapel is also paralleled in Black Diggers , where Wright’s portrayal of Bertie expresses the yearning for a sense of belonging. Just like Chapel, Bertie desires free will, and he decides to 'fight for the country'. This aspiration of his however, is restrained by both his Mum and Grandad; who in a similar manner as Whitechapel, represent the voice of reality and reason. Wright employs the metaphor of the Narrandera Show to depict the marginalisation and exclusion of Aboriginal people, as they will never be 'allowed through the wire', or essentially, ever be accepted in Australia. This notion of exclusion is further reinforced through Bertie’s gradual loss of voice and mentality throughout Wright’s short vignettes, as he soon becomes desensitised and is 'unable to speak'. Here, Wright seems to suggest that the silenced voices of the Indigenous soldiers depict the eternal suffering they experienced; from both the horrors of war, but also the continual marginalisation and lack of recognition they faced back home. Consequently, D’Aguiar and Wright highlight how the ambitions of young individuals are limited by the truths and history of reality, and are essentially rarely achieved.

Conclusions should be short and sweet. Summarise your main points while comparing the two texts (just as you have throughout your entire essay).

D’Aguiar and Wright both illustrate oppressed individuals fighting against the beliefs and conventions of society; in order to gain their freedom and achieve their hopes and dreams. However, both reveal the harsh truths of reality that ultimately inhibit and restrict the capacity of people’s ambitions. D’Aguiar and Wright compel their readers to try and grasp an understanding of the past of slaves and Aboriginal soldiers, in order to seek remembrance and closure of this fundamental truth. They both convey the need for memories and the past to never be forgotten; and instead remembered and recognised in history.

For further detail from Sarah (English study score 45), read her advice on 5 Tips For A Mic-Drop Worthy Essay Conclusion .

If you're looking for more A+ Comparative essay examples, then you can also get your hands on any of our LSG study guide ebooks. Each study guide has 5 comparative essays, all fully annotated so you can see into the mind of a high achiever. These comparative essay examples also adopt different essay structures (block, alternating, and integrated) so you can see all three in action.

Ransom & The Queen

The Crucible & The Dressmaker

The 7 Stages of Grieving & The Longest Memory

I Am Malala & Pride

Photograph 51 & My Brilliant Career

‍ This blog guide is fantastic to get you started - there are certain strategies you can implement to ensure your Comparative essay wows your examiner and gives you an A-grade ranking. These strategies have been adopted by high-achievers in the past few years and have resulted in student achieving study scores of 45+. Make sure you don't miss out on these strategies by accessing a free sample of our How To Write A Killer Comparative ebook. In the meantime, good luck!

Get our FREE VCE English Text Response mini-guide

Now quite sure how to nail your text response essays? Then download our free mini-guide, where we break down the art of writing the perfect text-response essay into three comprehensive steps. Click below to get your own copy today!

Unsure how to study for your Comparative SAC or exam?

Learn LSG's unique CONVERGENT and DIVERGENT strategy which has helped hundreds of students achieve A+ in their assessments
Includes sample A+ essays with EVERY essay annotated and broken down on HOW and WHY students achieved A+ so you reach your goals quicker
Different types of essay structures broken down so you understand what to do and what not to do with confidence
Learn how to stand out from other students with unique points of comparison

The following is an excerpt from our study guide, I am Malala and Pride , available for purchase here .

Plot overview

I Am Malala by Malala Yousafzai is a memoir of the eponymous Pakistani schoolgirl and activist. Yousafzai grows up in Pakistan’s Swat Valley with parents who were unconditionally supportive of her education. However, Pakistan is strongly under the control of the Taliban, an extremist group who opposes education for girls. On the other hand, Yousafzai’s family practice Islam in a peaceful and egalitarian manner.

Tracing how decades of global, geopolitical movements have produced these conditions, Yousafzai recounts the rise of the Taliban and her increasingly dangerous journey to school each day. The geopolitical histories trace back decades to the military rule of General Zia in the 1980s. Since then, turbulent domestic politics combined with a volatile, ever-evolving relationship with America (which, importantly, is partly America’s fault) has allowed the Taliban to rise to power. The post-9/11 period and the ‘War on Terror’ are important milestones here, since these are the years in which Yousafzai grows up.

As the Taliban continue to deny women and girls their freedoms, Yousafzai becomes an outspoken activist, made all the more prominent by the BBC and the New York Times. Because of her fame, nationally and internationally, she becomes a target and is shot in the head by Taliban gunmen when she is just 15. The memoir starts here in its prologue, before going back in time to catch us up. Indeed, Yousafzai is now well-known everywhere for this incident.

The remainder of the book traces her recovery, and reaffirms her commitment to fighting for girls’ education. Even though she now lives in Birmingham, England, she has persevered through many setbacks to keep up the good fight - now on a uniquely far-reaching international platform.

Pride , directed by Matthew Warchus, is a film exploring the 1984-85 miners’ strike in Britain. In particular, it explored how an unlikely ally, the Lesbians and Gays Support the Miners (LGSM) organisation, was able to provide solidarity and support despite their differences.

At the time, many members of London’s LGBT community had difficult coming out experiences, made all the more difficult by stigma and dominating views of masculinity - they perceived miners in their hometowns as part of that problem. However, activist Mark Ashton saw an opportunity to help a group in need, and a group that was experiencing similar political pressures as themselves, particularly at the hands of Conservative Prime Minister Margaret Thatcher.

While the National Union of Mineworkers is initially reluctant to take LGSM’s money, Mark is able to connect directly with Dai Donovan, who represents miners from the Welsh village Onllwyn. Over time, LSGM is able to build relationships with locals, who gradually warm to their presence as well. Solidarity - the idea that anybody’s fight against injustice is everybody’s fight against injustice - is an important part of what makes this partnership tick. Their campaign culminates in the Pits and Perverts concert, which raises thousands of pounds.

The ending is a bittersweet one though - the mineworkers’ union finds this too controversial, rejects further support and ultimately loses the strike, while the queer activists return to their own struggles with identity and belonging. However, the campaign forged lasting bonds between these activists and miners, who show up in their own display of solidarity at the next year’s Pride March.

Themes, Ideas, and Key Messages

At LSG, we use the CONVERGENT and DIVERGENT strategy to help us easily find points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, check out my How To Write A Killer Comparative . I use this strategy throughout my discussion of themes above and in the next section, Essay Topic Breakdown.

Similarities (CONVERGENT Ideas)

Identity and Perspective : Before even considering the activism that is featured in each text, it’s worth unpacking the individual identities of the main characters, and the complexities that come with them. Both texts see characters juggle and negotiate tensions within their identity - in particular, other people who share the identity don’t always see eye to eye with them. In I Am Malala , Yousafzai often finds herself at odds with other practitioners of Islam, especially the more extreme Taliban who would oppose her belief in girls’ education. Likewise, queer activists in Pride ’s LGSM draw incredulity from their peers, who bristle at the idea of supporting the mineworkers. However, not only are these characters able to overcome these tensions, but their personal identities give them a perspective that feeds back into their activism - they actually draw on their identity in their fight for justice. Yousafzai acknowledges that Muslims “don’t [all] agree” (Chapter 7), but she firmly believes that “education for females not just males is one of our Islamic rights” (Chapter 23). Her fight is informed by, rather than separate from, her faith. In the film, personal identity also acts as a springboard for activism. For example, the collaborative and highly successful Pits and Perverts fundraiser came about as a result of the “long and honourable tradition in the gay community [of] when somebody calls you a name…you take it and you own it”. Queerness is mobilised to fundraise for the miners, rather than silenced or excluded as others might have it.

Injustice and Activism : As we explored in the context sections (and as we’ve been exploring throughout), a fight for justice is fundamentally at the heart of both texts. In the film and the memoir alike, we see conservative agendas disempowering certain groups. Yousafzai recounts how pre-existing sexism in Pakistan, where girls found “no point in going to school just to end up cooking, cleaning and bringing up children” (Chapter 3), was exacerbated by the Taliban who closed schools altogether. They would even vandalise and destroy schools - “by the end of 2008, around 400 schools had been destroyed” (Chapter 11). Yousafzai’s fight is really about equality and human rights. The miners and LGSM are fighting their own injustices and inequalities in the film - Prime Minister Thatcher had been closing down mines and stripping miners of their livelihoods. Not only that, but she’d used pretty brutal tactics, calling in the police and withholding income support for newly-unemployed miners who struggled to feed their families through the winter.

Women’s Education : This isn't the principal fight in Pride , but there are moments where it definitely shines through. In particular, we first meet Sian as a young housewife, but by the end of the film Jonathan had encouraged her to return to school, and we know that she goes onto become the first female MP of her district. Through the strike, she discovered her own passion for trade unionism, and education hugely empowered her to take that passion further. This is particularly important given how much the strike affects men and women alike - consider the significance of ‘Bread and Roses’. In the memoir, the importance of women’s education is a much more central element. As Yousafzai points out, “going to school wasn’t just a way of passing time, it was our future” (Chapter 11). In both texts, education helps people (and women in particular) forge relationships and futures for themselves, and for one another.

Differences (DIVERGENT Ideas)

Now it's your turn! Here are some questions to get you thinking about the differences between the two texts:

Activism: what forms of activism are there? how effective can activism be? how are these ideas portrayed in the two texts?
Solidarity: what does solidarity mean? what are the ways in which people can show solidarity? how are these ideas portrayed in the two texts?

Essay Topic Breakdown

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response .

Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Theme-Based Prompt: Compare how the two texts explore injustice.

Step 1: analyse.

This is a theme-based prompt. Both texts have a pretty clear focus on this idea of ‘injustice’, so it’s an important theme to have thought about beforehand. This prompt is quite broad, so you could potentially include a wide range of thoughts and opinions about injustice—you might want to consider angles like who is affected, what its impacts are and what actions can reasonably be taken against it. Also because of how broad this prompt is, try to find answers to these questions from within the texts, but phrase them in a way that doesn’t necessarily refer to a text. This will help you keep your ideas flexible for both texts when the time comes to write.

Step 2: Brainstorm

I think those angles are a reasonable starting point for brainstorming. In the memoir, Yousafzai and her peers—Pakistani schoolgirls—are the most affected, while the injustices portrayed in the film affect coal miners and the LGBTQ+ community. All of these groups are disempowered and disenfranchised by injustice, and this is an important impact. Note that this is something you can say about both texts, which is exactly how we were trying to phrase our answers.

In terms of taking action against injustice, there’s a wide range of measures across the texts—speaking out, writing for news outlets, organising large-scale fundraisers etc.—and the key takeaway from that might be how diverse these measures are, the different outcomes they generate and whether or not they’re effective.

Step 3: Create a plan

Because this theme has a lot of rich overlaps between texts, it’s best to integrate discussion of both texts into every paragraph. When we do this for a theme-based prompt, especially a prompt with just one theme, that means every paragraph uncovers a new angle or dimension from both texts about the theme. Learn more about Integrated Text Discussion in How To Write A Killer Comparative .

P1: Injustice is framed as limiting people’s power—we can look at marginalised groups in both texts, from the schoolgirls of Yousafzai’s Pakistan, or the miners and the queer folk from the film.

P2: It’s also something that must be fought. Because it has such a detrimental impact, there is a need for those groups to stand up for themselves and for each other.

P3: In so doing, injustice may take time to overcome, but that doesn’t mean we shouldn’t fight it. Not all activism can be instantly, wildly successful—partial successes along the way are usually more frequent.

Our contention will try to string those three ideas together: injustice in any society involves some experiencing marginalisation and powerlessness that others do not experience (P1), and it is something that must be fought (P2), even if this is a time-consuming process (P3). Have a go at writing your own essay now if you’d like, or read a free preview of our I am Malala and Pride study guide below!

A Killer Comparative Guide: I am Malala and Pride

How to Write a Killer Comparative Ebook

A Guide to Structuring a Reading and Comparing Essay

Reading and Comparing Essays

‍ How to get A+ in Reading and Comparing

Compare the Pair: A guide to Structuring a Reading and Comparing essay

This blog was updated on 23/10/2020.

1. Introductions

2. Characters

4. Literary Devices

5. Important Quotes

6. Comparing Penelopiad and Photograph 51 Video Transcription

7. Sample Essay Topics

8. Essay Breakdown

For a detailed guide on Comparative, check out our Ultimate Guide to VCE Comparative.

Introductions

The Penelopiad by Margaret Atwood retells the story of the Odyssey by Homer from the perspective of Penelope, a half mortal and half divine princess who also happened to be the wife of Odysseus, and her Twelve Maids. A retrospective narrative, Atwood opens her mythological tale with Penelope and the Maids in the afterlife reflecting on the events that occurred centuries before. Told in chronological order from her birth, the Maids serve as a traditional part of greek theatre in their purpose of a Chorus as they make commentary on their life.

Anna Ziegler’s play, Photograph 51 , is set during the 1950s in the age of scientific discovery as researchers are scrambling to be the first to unlock the mysteries of DNA. Its protagonist, scientist Rosalind Franklin is an under-appreciated genius working as the only female in her respective field. As one of her photographs uncover the truth of DNA, her competitors' ambition leads the men around her to success.

The Penelopiad

Major characters.

The Suitors
The Twelve Maids
King Icarius of Sparta
Penelope’s Mother (The Naiad)
Uncle Tyndareous
Melantho of the Pretty Cheeks

Minor Characters

Theseus and Peirithous
Piraeus and Theoclymenus

Photograph 51

Rosalind Franklin
Maurice Wilkins
James Watson
Francis Crick
Don Caspar
Ray Gosling

Both texts explore the use and demonstration of power in its various forms of physical displays of strength to the patriarchal forces that govern each texts respective world. Indeed, the power of men prevailing atop the social hierarchy while displacing those below them is a common theme within both texts. The authority associated with Icarius’ title of King allows his drunken and rude behaviour to go by unquestioned while in Photograph 51 Wilikins embodies the power possessed by white men. The patriarchal power that men possess within each of the respective texts becomes closely linked to fragile masculinity in their exertion of physical strength or intellectual superiority; Odysseus self-proclaimed superhuman strength is equated to Wilkins need for intellectual dominance, especially over the brilliant Rosalind.

While the men within each text exert their inherent power of supposed supremacy, the women within each world draw are shown to draw on their physical appearance as a source of power or is shown to be disempowered by it. In The Penelopiad , Helens is known for her legendary beauty which she uses to relentlessly taunt Penelope, the proverbial ugly duckling, through which Atwood demonstrates how, like other forms of power, can be used to oppress others. Conversely, Photograph 51 examines how Rosalind is disempowered by her perceived lack of traditional physical beauty. Many of the men around her using her unflattering appearance to ridicule and minimise her and her work.

While the time periods in which the two texts are set may greatly differ, the notion of identity is still a prevailing theme that is explored. Indeed, the role others perceptions play in each character's construction of their own self-worth and values provides both authors a basis for the examination of how societies enforce conformity while punishing uniqueness. In The Penelopiad, it can be seen that the glowing perceptions of Odysseus from his mother and his nurse nurture and grow Odysseus’ egocentric view of himself as a hero. In contrast Photograph 51 demonstrates the negative effects these perceptions can have on one’s self-identity, as the negative views that surround Rosalind ultimately make her question herself and her actions.

Not only do others perceptions shape one's personality, but the expectations enforced by Society. Both protagonists within each text feels pressure from those around them to live up to certain expectations; Penelope feels she must constantly encourage Odysseus’ self glorifying tales of heroism, while Rosalind feels similar pressure to follow her father's advice to consistently be right which eventually leads to her unfavourable reputation for being difficult to work with.

Both Ziegler and Atwood suggest that in order to overcome the pressures and external expectations of society each which of these women must have a positive and strong sense of self. In the case of Photograph 51, Rosalind must adopt a strong self-belief in her work in order to survive the hostile masculine environment around her. By contrast, Odysseus constantly boasts and exaggerates his stories of heroism and the cleverness of his actions. While both Odysseus and Rosalind have a strong self-belief, Odysseus’ is guided by ego while Rosalind’s is guided by intelligence

Women and Misogyny

The feminine figure and roles are depicted in contrasting ways between the texts, but both show how the construction of characters who either adhere to or reject the social constructs of femininity during their era are forced to grapple with the harsh realities of being a woman in both ancient and modern times. One of the biggest examples of femininity shown within each text is the value the patriarchal system places on motherhood and the high expectations they have for mothers and mother figures. Some mother figures in the The Penelopiad demonstrate the gentle and protective qualities associated with typical feminine attributes; the two contrasting figures within the same text, Odysseus’ nurse and mother demonstrate the two extremes of femininity relating to motherhood. Eurycleia is presented as benevolent and dedicated to the mother figure ideal as she is shown to snatch Penelope's newborn son and envision him as her own. In contrast, Penelope's mother an elusive and neglectful Naiad leaves her child to swim around unsupervised.

In Photograph 51 mothers are depicted as primarily concerned with the needs of their children and husbands as they are shown to identify themselves with their attributes and successes. It can be seen that such characters as Gosling's mother's interest in his PhD suggests that like Penelope she judges her own worth by her child's success. Indeed, while these mothers are shown to be nurturing and caring most of it emphasises their need to control and guide their child's life.

Not only mothers, but wives become another primary source of femininity that is examined within both texts. The Penelopiad’s notion of wives becomes closely related to the idea that within a patriarchal system women are associated with being a possession rather than an equal. Regardless of class and social standing every woman on some level is shown to be oppressed by this traditional and conventional idea of womanhood. Penelope is encouraged to be a doting wife to her husband Odysseus, while in contrast, the Maids remain unmarried yet are still subjects of oppressive mistreatment. Unlike The Penelopiad, wives have little to no significance within Photograph 51, a text heavily focused on the scientific discovery of DNA, Indeed, the woman or the wife is seen as irrelevant in the scientific field while any mention of women outside of Rosalind is confined to the wives of men contained within the domestic sphere.

Storytelling and The Narrative

The notion of storytelling and the power of narrative becomes closely linked to such ideas as femininity and womanhood within each text as each closely revolves around women taking back control of their own narratives and stories. The Penelopiad is a story about other stories as it is based off retelling an already famous story. The Odyssey becomes a vessel for Penelope to share her own insights and feelings while her actions of retelling the well-known work is a source of empowerment for her as she is able to negate stories about herself that she would prefer not to hear. This frees her from the burden of being a legend or a myth as she urges women not to follow her example of keeping their mouths shut. In contrast, Rosalind Franklin does speak out initially but gained an unfortunate reputation as a difficult woman in stories about her that are circulated by men.

Through this, it can be said that the aim of both Ziegler and Atwood is to challenge the historical invisibility of women throughout time. While Ziegler's play attempts to highlight the ways in which stories told by men have worked to minimise or downplay the roles and contributions of women, The Penelopiad attempts to offer new perspective of already well-known stories that intend to give insight into the woman's understanding of life.

Literary Devices

Dramatic Irony
Dramatic Monologue
Genre, literary form and its construction
Authorship
Narrative structure
Style and language

Important Quotes

“And what did I amount to, once the official version gained ground? An edifying legend. A stick used to beat other women with.” (ch.1)

“We were told we were dirty. We were dirty. Dirt was our concern, dirt was our business, dirt was our specialty, dirt was our fault. We were the dirty girls. If our owners or the sons of our owners or a visiting nobleman or the sons of a visiting nobleman wanted to sleep with us, we could not refuse.” (ch.4)

“Water does not resist. Water flows. When you plunge your hand into it, all you feel is a caress. Water is not a solid wall, it will not stop you. But water always goes where it wants to go, and nothing in the end can stand against it.” (ch.7)

“Oh gods and oh prophets, please alter my life,

And let a young hero take me for his wife!

But no hero comes to me, early or late—

Hard work is my destiny, death is my fate!” (ch.8)

“The more outrageous versions have it that I slept with all of the Suitors, one after another—over a hundred of them—and then gave birth to the Great God Pan. Who could believe such a monstrous tale?” (ch. 20)

Photograph 51

“Dr Wilkins, I will not be anyone’s assistant” (Rosalind pg.13)

“It’s for men only” (Wilkins pg.17)

“But those are precisely the conversations i need to have. Scientists make discoveries over lunch.” (Rosalind pg. 17)

“...You don’t have to try and wing me over. In fact, you shouldn’t try to win me over because you won’t succeed. I’m not that kind of person.” (Rosalind pg.35)

“To Watson and Crick, the shape of something suggested the most detailed analysis of its interior workings” (Casper pg.41)

Comparing Photograph 51 and The Penelopiad

[Video Transcript]

background.

The play Photograph 51 by Anna Ziegler invites us to revisit the events surrounding the discovery of DNA’s double helix structure. While the DNA double helix structure is common knowledge now, in the 1950s many scientists were racing to claim its discovery. Ziegler's title, Photograph 51 is simply named after the X-ray photograph taken of the hydrated B form of DNA, which was crucial in the consequent events that eventually led to the identification of DNA's structure. However, much controversy has surrounded exactly who deserves credit for the discovery, particularly because the Nobel Prize was awarded to James Watson, Francis Crick, and Maurice Wilkins - 3 people who did not actually take Photograph 51 itself. Instead, people have argued that Rosalind Franklin should have been one to be award the prize, or at least share the prize as it was her work that led to Photograph 51 and without it, Watson, Crick and Wilkins may not have discovered the DNA structure. Yet what makes this situation even more complicated is that Franklin’s work was shared with Watson without her knowledge in addition to the fact that Franklin died of ovarian cancer 4 years before the prize was awarded. Since the Nobel Prize does not generally make posthumous awards, Rosalind’s work has never shared in the glory along with the other men. Ziegler takes this opportunity to explore Rosalind’s perspective, and gives the audience a chance to peer into her experiences, interactions with others, and strong mindset. The question now begs: if Rosalind’s data had not been leaked, would she have gone on to discover the structure of DNA on her own? If Watson and Crick had not seen Photograph 51 , would they have gone on to discover the structure of DNA on their own?

The Penelopiad is similar to Photograph 51 in that it is written from a women's perspective previously never explored in literature. While in Photograph 51 , Ziegler allows us to be privy to Rosalind’s thoughts - a perspective unknown to media and publications because of her death, Margaret Atwood chooses to write from Penelope’s perspective, a view also previously never explored in Greek literature. Penelope’s reminisces about her life from her deathbed in Hades, the underworld. We learn of Penelope’s key life moments from childhood through to adulthood, such as the psychological damage inflicted upon her when her father attempts to drown her as a child, to her pretending to weave a shroud so that she can delay the decision to choose a Suitor who undoubtedly only wants to marry her so they could take up the throne and treasure. Her narrative is occasionally interrupted by the 12 maids who were killed by Odysseus, Penelope’s husband, upon his return. These maids were wrongly murdered and their presence in Atwood’s story brings attention to their plight as not only females, but as slaves during Ancient Greece. When studying The Penelopiad , I would strongly encourage you to be familiar with its historical context - mainly, you should have a good understanding of the story ‘The Odyssey’, the Trojan War, and the roles of the Gods mentioned in the novel. I’ve created a playlist I’ll link below for you with some videos I believe will be helpful for your studies.

Common Themes

Women’s reactions to misogyny.

Misogyny is widespread in both Photograph 51 and The Penelopiad, and both writers explore the ways in which females deal with such an environment. Penelope is more graceful in her response, as she is accepting of her place as a woman, as poignantly expressed: "I kept my mouth shut; or, if I opened it, I sang [Odysseus] praises. I didn’t contradict, I didn’t ask awkward questions, I didn’t dig deep.” Meanwhile, Rosalind reacts with snark hostility, "I don’t suppose it matters whether or not it suits me, does it?”. Rosalind refuses to let her womanhood impede her career as a scientist, to the extent that her stubbornness is self-defeating and her being constantly on guard only causes further misunderstandings and tension with Wilkins: “You know…I think there must come a point in life when you realise you can’t begin again. That you’ve made the decisions you’ve made and then you live with them or you spend your whole life in regret."

Misogyny from a male lens

In The Penelopiad, even Telemachus shows a lack of understanding and empathy for his own mother, and wants her to find a Suitor quickly because she is "responsible for the fact that his inheritance was being literally gobbled up." He disobeys Penelope’s wishes and resents being “under the thumbs of women, who as usual were being overemotional and showing no reasonableness and judgement”. Like Telemachus, the men in Photograph 51 have NO sense of what it means to be a woman. They is frustratingly presumptuous in the female psyche, as seen when Crick boasts: "See, women expect men to fall upon them like unrestrained beasts.” The viewpoints of the males in both texts highlight misogyny that is deeply rooted in society, and a demonstration of how far we can be from the truth when we formulate our own assumptions.

Women’s undervalued abilities

Penelope is clever, but it’s only beauty and sex appeal that is valued in society as so clearly shown by all men charmed by Helen of Troy. Penelope's intelligence, and more widely, all women’s intelligence is seen as a threat to men as she says, 'cleverness is a quality a man likes to have in his wife as long as she is some distance away from him". Unlike Penelope’s era where women usually didn’t actively or overtly fight for their rights, the 1950s sees more agency in women. While Rosalind’s intelligence secures her a job and career, she still faces a hostile, sexist environment. Her fellow male scientists dismiss her credentials. From the get go, Rosalind is expected to ‘assist’ Wilkins, and is disparagingly referred to as ‘Miss Franklin’, rather than as ‘Dr Franklin’ as she is rightfully entitled to. Moreover, her methodical approach to her work drives the frustrated Wilkins to share her confidential research with Crick and Watson, displaying the men's inherent distrust and disrespect of women.

Here’s a tip for you. You may have noticed that the common themes I mentioned aren’t just one-worded themes, like ‘misogyny’. Yes, I could’ve lumped my themes together under the umbrella of ‘misogyny’ but I wanted to go that extra mile. By breaking it down further, I am better able to showcase my detailed understanding of the texts, and you’ll find that adopting this specificity in writing is rewarded in VCE.

Here’s another tip. At the Year 12 level, and particularly in Reading and Comparing, your assessor expects you to not only understand the text itself, but to understand the real-life implications explored. Here we’re looking at human reactions and responses to our world and experiences. So when you start comparing Photograph 51 and The Penelopiad think about the human condition. For example, on a textual level, you’d be asking yourself: what factors drive Rosalind to act with such hostility towards men? Why is the way she deals with misogyny so different to that of Penelope? Now if we zoom out and look at the bigger picture, you need to start asking yourself: What do these texts say about us as people? What can we learn from these stories?

Obviously there’s so much more you can extract from these books and compare, but I hope this has given you something to think about!

Sample Essay Topics

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response .

Character-based Prompt:

While Rosalind and Penelope are examples of strong female characters, they are both severely flawed. Discuss.

Theme-based Prompt:

In what ways do misogyny and expectations impact individuals identity within each text?

Structure-based Prompt:

What structural elements help convey the strength of women within The Penelopiad and Photograph 51 ?

Quote-based Prompt:

“We were told we were dirty. We were dirty. Dirt was our concern, dirt was our business, dirt was our specialty, dirt was our fault. We were the dirty girls.” (The Penelopiad)

Authorial message-based Prompt:

What comments do the authors make about the corrupting force of power?

Make sure you watch the video below for extra tips and advice on how to break down this essay prompt!

Essay Topic: The authors of Photograph 51 and The Penelopiad give voice to the women in their stories. Discuss.

‘Authors’ - means I should talk about their intention and what message they want us to hear
‘Voice’ - power to speak, to story-tell, to share their side of the story
‘Women’ - be sure not to only talk about the main characters such as Penelope and Rosalind but other women in the books
‘Discuss’ - a word like ‘discuss’ gives you a lot of flexibility to discuss any ideas that are relevant to the topic, whereas a ‘do you agree’ style of question is a bit more limiting. With so much more flexibility to ‘discuss’ various ideas, I’m going to touch on topics that most interest me . I feel that this is a great way to get yourself in tune with the book, especially as you start writing. The more you can make the writing interesting for yourself, the more interesting it will be for your reader.

Contention :

By giving voice to the women in their stories, atwood and ziegler reveal stories of those previously silenced, and showcase how storytelling empowers women marginalised by misogynistic social constructs. , body paragraph 1: in giving a voice to the females, both atwood and ziegler offer a new, previously unseen perspective on misogyny. .

In The Odyssey, the maids are constructed as unfaithful and disrespectful of queen Penelope, Telemachus and other staff. Their own story is silenced and instead, is observed through others, whereas in The Penelopiad, the maids tell their own version of events - mainly that their actions were under Penelope’s instruction.
The patriarchal rule is accentuated through their lack of status and rape, which is considered to be a “deplorable but common feature of palace life”.
Moreover, we feel sympathy for these three-dimensional characters, as they ’toil and slave/ And hoist [their] skirts at [men’s] command’.
Likewise Rosalind Franklin's version of events has never been revealed because of her early death. In Photograph 51, we learn of the misogyny Rosalind faced as a female scientist "My name is Rosalind. But you can call me Miss Franklin. Everyone else does."

Body paragraph 2: By offering these women a voice, the authors reject social conventions of femininity.

Penelope is cunning and intelligent, foiling the Suitor’s plans to marry her by delaying her decision with the endless weaving of her ‘shroud’. The juxtaposition of unsuspecting men and strategic Penelope thwarts traditional gender roles where women are viewed as inferior. "They were very angry, not least because they’d been fooled by a woman."
Meanwhile, Rosalind is stubborn and resilient nature rebuffs the narrow-minded beliefs of her fellow coworkers who believe that “kindness always works with women” and that "women expect men to fall upon them like unrestrained beasts."

Body paragraph 3: Most importantly, both authors showcase the importance of giving women a voice as a means to control their own narrative.

Penelope opens her reflection with an emphasis on how she “owe[s] it to [herself]” to “spin a thread of [her] own”. She shares how she now has the opportunity to share her side of the story, whereas allowing others to speak of her from their perspective means that “they were turning me into a story…not the kind of stories I’d prefer to hear about myself”.
While Penelope is empowered to reveal her story and invites us to an alternate version of historical events, this is not afforded to Rosalind in Photograph 51 . Rosalind is literally sidelined, “…we just hear her lines - a recording, or she speaks from offstage' and therefore unable to control her narrative. The stage direction (/) indicates that the men of past and present talk over her, reducing her opinion and overriding her speech with their own “self-aggrandisement."

To see another essay prompt breakdown for this text pair and a full sample A+ essay with annotations, check out this blog post .

Useful Resources

Compare the Pair- A guide to structuring a reading and comparing essay

The link between your contention and topic sentences in relation to the prompt

Master Reading and Creating

‍ ‍ A Guide to Structuring a Reading and Comparing Essay

Written expression is often overlooked in our essays. Often, if we are made aware of clunky or awkward expression, we are also not quite sure how to go about improving it. Although sophisticated and pertinent ideas serve as the foundation of a successful essay, how we construct our sentences and express these ideas may be what distinguishes a good essay from a great essay.

These differences can be rather subtle, but the small things can and do matter.

1) USE YOUR VOCAL CHORDS

(to read out loud, not sing… unless you really want to)

Take your essay and read it out loud. Let your own conscience guide you in terms of whether a particular sentence flows well, is complete and makes sense. Keep your eye out for these small errors in particular: Grammar: Does your sentence actually make sense? Let’s have a look at an example: Although Funder suggests that the act of telling one’s story, especially one of victimisation, can catalyse the internal confrontation and healing required to move on.

(This is not grammatically correct! This is because this example only contains a subordinate clause and is lacking a main clause.)

But wait… what is this ‘subordinate clause’ and ‘main clause’?

A clause includes a subject and a verb .

Melissa ate an apple.After Wendy ate an apple.

What is the difference between the two clauses above?

‘Melissa ate an apple’ makes grammatical sense on its own. This is what we call a main clause (or an independent clause). On the other hand, ‘ After Wendy ate an apple’ is an incomplete sentence as it does not make sense. What happened after Wendy ate her apple? This is the information that is missing from the latter clause, making this a subordinate clause (or a dependent clause).

So now let’s try again…

Although Funder suggests that the act of telling one’s story, especially one of victimisation, can catalyse the internal confrontation and healing required to move on, ultimately, these individuals can never be truly free from the past that has irrevocably defined them.

(Hooray! This is a complete sentence now.)

Spelling : Are the title of the text, the author or director’s name, characters’ names, publisher’s name, etc. all spelt correctly (and capitalised, underlined, and italicised appropriately)?

Did you use the correct there, their and they’re? How about it’s and its? (and so on).

Sentence length: Did that sentence just go on for 5 lines on a page and you are out of breath now? You can most probably split that overloaded sentence into two or more sentences that make much more sense. Check whether you have a clear subject in your sentence. If you have three different ideas in one sentence, give each idea its own opportunity (ie. sentence) to shine. The opposite also applies: if it is for a very short sentence, did that sentence pack enough content or analysis?

One spelling error or half-finished sentence in an essay will not severely affect your mark, but they can easily add up if they occur often enough. Consequently, this will distract the reader from engaging with your ideas fully and thus disrupt the flow of your essay.

By being aware of these aspects, you are now able to easily fix them and boost your writing.

2) BE SUBTLE

Try not to be casual or overt in your writing as it can be quite jarring to read and unfortunately give readers a potentially negative impression of your piece.

Try not to use phrases such as:

- In my opinion… (You do not need it as your entire essay should be your implicit opinion!)

- This quote shows that… (Embed the quote and link to its implication instead)

- This technique is designed to… (Identify the technique and be specific, especially in Language Analysis)

- I think that…, I believe… (Avoid using first person in a formal essay. Use of first person in creative writing is fine though if required)

They are redundant and do not add much to your ideas and analysis. Try omitting them and see whether that helps your sentence flow better and seem more formal.

3) LINK ‘EM UP

Sentences that seem disjointed or a clear connection can make it difficult for your teacher or the assessor to join the dots between an idea and an implication or consequence. Use linking words as they are fantastic for explicitly showing the reader how your ideas are related and thus allow your writing to proceed smoothly.

Therefore, hence, thus, thereby, consequently, subsequently, in addition, additionally, furthermore, moreover, on the other hand, on the contrary, however, henceforth, and so on… The list is endless!

4) ADD OOMPH (through vocabulary)

In general, having a wide vocabulary will allow you to express your ideas and analysis more accurately as you are likely to have access to a precise word that can capture the essence of your idea. Make a vocabulary list for a particular text or for Language Analysis (such as tone words) and aim to use varied language to convey yourself well.

If you’d like to see a list of sentence starters and essay phrases to help you get a headstart on expanding your vocabulary, check out this blog .

Focus on verbs and expanding your list of synonyms for words such as shows, demonstrates, highlights, emphasises, suggests and so on. An individual, character, author or director may not only be conveying but also denigrating or remonstrating or bolstering or glorifying or insinuating . Adding precision to your writing through careful vocabulary choice will distinguish your writing and also add complexity.

BEWARE! There is a fine line to tread with sophisticated vocabulary - do not overload your writing as you can risk writing convoluted sentences that hinder the reader’s ability to understand your piece. Also make sure that you understand the nuances of each synonym and that they are used in the correct context! (They are synonyms after all - not the same word!)

If you are debating whether to use a word, ask yourself: do you know what it means?

If yes: Go for it!

If no: Do not use it until you know what it means.

Reading sample essays, The Age Text Talks, reviews and more of the texts you are currently studying will expose you to not only a multitude of interpretations of your text, but also to different sentence structures, writing styles or vocabulary that you could incorporate into your own writing.

I would also highly recommend that you read outside of the texts you are studying if you have time, whether that may be novels by the same author or even newspapers. Your written expression will only benefit from this exposure as the ways you can express yourself through writing continue to increase upon seeing others’ eloquence.

6) GET WRITING

If you do not write, you will never be able to improve your written expression. Put pen to paper (or hands to keyboard) and start constructing that essay. You can only fix your writing once you have writing to fix.

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 .

Authorial intent is without a doubt one of the most important parts of any analytical essay in VCE English because talking about it is what offers the deepest level of analysis and shows the examiners that you have thought deeply about the text at hand. If you can discuss authorial intent effectively, you’ll be able to show that you have a solid understanding of what you are talking about and that you’re not working exclusively with surface-level ideas.

What Is Authorial Intent?

When we talk about authorial intent, what is really being referenced is the author’s reason for writing their piece in the way that they have and what messages they are trying to convey. Essentially, it’s what your teacher wants you to think about when they ask you things like “why is the door red?”. More generally speaking, why has the author made a point of telling us as readers the weather at that time? Why has that character been given that particular line of dialogue? Why have they brought in that specific tone for this part of the text? These are all the kinds of questions that you should be asking yourself when you’re reading through material that you have to analyse.

You might also hear authorial intent talked about as the writer’s ‘views and values’ . If you’re unsure what views and values actually mean, you can kind of think of it as though the ‘views’ are how the author sees something and the ‘values’ are how the author thinks about something. Essentially, their opinions and perspectives are their views, whereas their morals and principles are their values. These two elements will often be central to the overall intention behind writing their text.

Why Is Authorial Intent Important?

Authorial intent plays a major role in your interpretation of the text; if you can’t figure out what the intent is, you will often miss out on key points and messages throughout the text. If you are lucky, the author will make it really clear to you as a reader what their intent is; however, this often is not the case. That being said, whether their intent is stated or implied doesn’t matter - there will always be something there for you to talk about.

How To ‘Find’ Authorial Intent in the Text: Key Identifiers To Look Out For

If you come across a text that makes it a little bit more difficult to discern what the author is actually trying to say, a good place to start is to look at the context behind the piece of writing.

The time period the novel/movie/play is set in is often a good indicator of what the author is saying. The author will often be using their text as a means by which they can comment on or critique one or more elements of that society, or perhaps as a metaphor for events that are occurring at the time the text is/was written. Alternatively, they may be portraying their view about the events that actually occurred during that time. For example, if you have a text that is set in the Georgian era, it is likely that the author’s message has something to do with colonialism or imperialist mindsets (zeitgeists) because this was a very dominant theme in that society.

Some other reasons you might consider an author having could include:

to highlight the importance of something
to criticise a behaviour or mindset
to ridicule certain actions
to warn against something
to discourage people from doing something
to convey certain political messages or controversial opinions

Realistically there is a broad range of things that the author could be saying, it's your job to pinpoint what that really is.

Once you’ve determined what it is the author is generally talking about, you then need to start thinking about the way that this has been represented. This is where you start to bring in the characters, the events, the dialogue, the inner monologues. Basically, you start looking for the elements that the author has added, not necessarily for a story-telling purpose but, more so, to convey their views and values through the text. This isn’t always going to jump right out at you so there may be a bit of deeper thinking involved.

Another good place to start is to try to identify the central themes of a text. This might be something like ‘Judgement’, ‘Redemption’, ‘Guilt’, etc. The author wouldn't have made these themes so relevant if they didn't have anything to say about them. Once again, this is where you look at the quotes, the setting, the characters and other features (as mentioned before) just with a more theme-focused approach.

Useful Vocabulary & Sentence Examples

When you come to actually putting together a paragraph, it is really important that you don’t forget to include authorial intent at some stage (at least once per paragraph). If you work with a TEEL structure (watch from 05:10) as the baseline, these kinds of comments about the author’s intent would usually be located within the ‘explanation’ section. A good way to double-check that you’ve incorporated authorial intent is to go back through your paragraph and make sure that the author’s name is in there somewhere. If you’ve talked about authorial intent you likely will have said something like:

‍ ‘In doing so, (Author) condones the (whatever it is they condone).’

Sentence Templates

Below are some sample sentence structures that you might think about using throughout your essays. Obviously, the particular vocabulary will vary depending on what your text is and which message you are talking about, but these are good as a guide.

Through (example from text) AUTHOR (offers, provides, asserts) a (condemnation, evaluation…) of (idea, theme, concept, action…)

E.g. Through emphasising the internal struggle faced by Rooke during the floggings, Grenville offers a condemnation of the Empire’s heinous approach to loyalty, as the threat of ‘wirling at the end of the rope’ essentially forces individuals to value duty over conscience. (The Lieutenant)

In doing so, AUTHOR (establishes, condemns, reveals…)

E.g. In doing so, Miller reveals the self-destructive nature of religious extremism in breeding instability and conflict. (The Crucible)

(scene, event…) allows AUTHOR to (suggest, convey, assert,…) that

E.g. Her sorrowful pleas that ‘she beg me to make charm’, fraught with grammatical errors, allow Miller to saliently illustrate the gulf that exists between the vulnerable outcasts such as Tituba and more privileged individuals within a community, in this case, Reverend Parris. (The Crucible)

AUTHOR’s depiction of (character) as (courageous, morally conscious, selfish…) emphasises their belief that…

E.g. Ham’s depiction of Teddy as a morally conscious and genuine individual emphasises her belief that it is possible to transcend the social codes enforced by one’s community. (The Dressmaker)

AUTHOR’s suggestion that… (serves as a reminder, highlights, emphasises the importance of…)

E.g. Euripides’ blatant suggestion that the fate of most of these women is in servitude and sexual slavery is a damning reminder that the victims of war are not just those killed during the conflict. (Women of Troy)

(Hence, thus, as a result…) AUTHOR asserts that…

E.g. Thus, Euripides asserts that victory in war ultimately proves futile as loss will inevitably be suffered somewhat equally by both sides. (Women of Troy)

Evident through AUTHOR’s (characters’ actions/dialogue/section of text…) is the idea that…

E.g. Evident through Miller’s depiction of the struggles faced by Goody Osburn and Goody Good is the idea that where geographical isolation and strict moral codes render a community intolerant, the marginalisation and ostracisation of those who do not fit the societal mould is inevitable. (The Crucible)

Through (action, quote, scene…) AUTHOR seeks to…

E.g. Through highlighting the harm which can result from individuals utilising their power to manipulate situations, Ham seeks to expose the damages caused by ignoring the truth, particularly when done so for personal benefit. (The Dressmaker)

If you’ve gotten to this point then hopefully that means that you are starting to get a better understanding of what authorial intent actually is, the thought processes that go into finding it and why it is such a useful and important element to analyse. Most importantly, I hope that you can at least start recognising the way that the author’s voice comes through in the particular texts that you are studying, and that you can start looking at including some of those observations and ideas when you're writing your responses.

Authorial Intent is an aspect that's going to be relevant to Text Response & Comparative for the most part, but it's also handy to understand for Language Analysis !

[Modified Video Transcription]

In a previous video , we covered some of the themes found in both The 7 Stages of Grieving and The Longest Memory. I’d recommend that you watch that video first (or read it’s accompanying blog post if you prefer reading) because once you know some of the themes, you can get even more out of this video. In this video, we’ll be looking at a scene each from both The 7 Stages of Grieving and The Longest Memory , and trying to compare them a little bit.

We’ll be applying the CONVERGENT and DIVERGENT strategy from LSG’s How To Write A Killer Comparative and exploring how ideas are developed in similar or different thematic directions in these texts. CONVERGENT ideas lead to similar conclusions and messages, while DIVERGENT ideas take us to different conclusions. If you’d like to learn more about this strategy which can help you build more insightful discussions of the text by finding unique points of comparison, then I’d recommend you check out the LSG’s How To Write A Killer Comparative study guide.

The Play ( The 7 Stages of Grieving )

‍ Let’s go to scene 14 of the play - this should be the report of Daniel Yocke’s death in police custody. The woman recounts his death in a factual, impersonal style as if reading from a court report. She describes how the police pursued and arrested Yocke after he went out drinking with a group of friends, and how he was detained and taken to the watchhouse. He arrives without a pulse, but the report doesn’t go into detail about how that happened between his arrest and his arrival. The woman breaks into bursts of emotion toward the end of the scene.

While most of the play deals with issues that are universal and timeless for First Nations peoples, this scene looks at a specific real event . However, this doesn’t mean that this scene isn’t timeless - First Nations deaths in custody are still a major issue for which no police officer has been held legally accountable - but this scene chooses just one example out of several hundred.

The emotionally detached tone makes the situation feel serious, but in a way, that distances us and the woman from the brutality and the violence of what must’ve happened. After all, how exactly was Yocke dead upon arriving at the watchhouse? How badly must the police have mishandled him for that to have happened? Along the way, there are little outbursts of emotion (like the little outburst of ‘people called him Boonie!’) and these remind us that the detachment belies the true significance of what happened - the needless loss of yet another Aboriginal person’s life.

This has been such a persistent problem in our history - this scene happened in 1993, but even in today’s time we’re still dealing with the same problem. The institution of policing has been unaccountable and violent for decades, at least, and something desperately needs to change.

The Novel ( The Longest Memory )

‍ Let’s go to the novel now and look at Chapter 6: Plantation Owners.

In this chapter, Mr. Whitechapel is talking to his peers about Chapel’s death in this clubhouse that his father had built for his own peers. Mr. Whitechapel is initially nervous that they’ll make fun of him, and they kind of do - they point out how hypocritical it is for him to think that he can treat the people he’s enslaved with humanity, and to stick to this argument even after Chapel had been whipped to death. At some point in this banter, he realises this physical violence is unjust and starts proposing ‘another way to organise the economy’ that isn’t slavery, but this draws even more mockery. He ultimately leaves feeling a little more convinced by the perspectives of his peers.

What does this chapter tell us, and how is it similar to the scene from the play?

Well, in both scenes, white men get away with murdering a Black man, and it comes down to socio-economic and institutional power. In this chapter, Mr. Whitechapel and his fellow enslavers all inherit significant wealth and extremely prejudiced attitudes from their fathers, and this creates not only pressure, but also a financial incentive, to conform to the system of slavery. He touches on the possibility of abolition, but this is seen as impossible - certainly, none of these men want to lose their power.

Looking more closely at this chapter, we also see how Mr. Whitechapel is exactly the hypocrite that everybody says he is - it’s ridiculous for him to pretend he’s treating black people fairly when they are dying under his watch. He says he’s feeding enslaved workers adequately and treating them with respect, but none of this is actually going to protect them from violence, and none of this is going to level the playing field so that white enslavers are held accountable. Ultimately, Mr. Whitechapel isn’t seriously interested in making substantive changes to slavery in the name of morality; he is simply trying to save face.

I’ve chosen these two scenes because they both illustrate the dynamics of race and power which pervade both texts, but these two scenes might not be the first ones that come to your mind as a pair that you can analyse together, and that’s totally fine! I encourage you to find your own scenes to compare because that’s what makes English powerful. If you, as a unique student, can compare two scenes that nobody else has compared, that’s going to give you an extra edge because you’re more likely to say something original.

If you’re interested in finding more unique ways to compare these two texts, I’d recommend LSG’s The 7 Stages of Grieving & The Longest Memory study guide. I know there aren’t many resources out there for this text pairing, so what we’ve done at LSG is work really hard at ensuring that all the information in this study guide will actually be beneficial for you. We’re not here just to make you read more guides - we’ve really thought about what would be meaningful for you as a student learning this pairing. That’s why you’ll see that I’ve used some of the ideas mentioned in this video and turned them into an A+ essay, so you can see exactly how knowing this information translates into your SAC/exam.

There’s a free sample of the study guide you can check out to see if it’s right for you!

Why Is the Context Important?

Understanding the context of the texts you are studying is essential if you are to satisfactorily respond to any prompt ( learn about the 5 types of prompts here ). Not only does it provide an insight into the society of the time and their views and values , it also allows for greater awareness of the characters’ motivations, resulting in a richer discussion in your essays. Discussing the context of the texts also makes for an ideal comparison which can be incorporated in the introduction as well as the body paragraphs. Moreover, context paragraphs are a great tool to have up your sleeves, as they can easily be adapted to almost every essay question, a real asset when attempting to write an essay in an hour.

In this blog post, I will be giving a brief overview of the contexts of the play The Crucible by Arthur Miller and Rosalie Ham’s The Dressmaker . Further down , I have also provided a sample paragraph as an example of a way in which I would go about writing a context paragraph in response to an essay prompt concerning the two texts. Both of these texts are set in fascinating and significant eras of human history so I invite you to conduct your own research after reading this!

At first glance, the town of Salem, Massachusetts in 1692 and Dungatar, Victoria in 1950s Australia have little in common; however, both towns exist in stifling geographical isolation, allow myopic and parochial outlooks to flourish, and maintain an irrational but overwhelming fear of ‘the other.’

The Crucible, Arthur Miller

The Crucible is set in 1692 in Salem. The provincial, conservative town was established by English Puritans who, fearing persecution, fled from a Britain dominated by The Church of England. The first Puritans to arrive in Salem faced brutal conditions, including 'marauding Indians' and living on a 'barbaric frontier' that lay close to the 'dark and threatening…virgin forest' that they believed to be the 'devil’s last preserve'. In order to overcome these challenges, the people of Salem were forced to unify and remain diligent. In order to ensure efficiency, a strict and rigid way of life was adopted, where work and prayer were championed and individual freedoms and pleasures abhorred. Though this harsh way of life did allow the Salemites to stay alive, it forced them to suppress various natural human emotions such as joy and anger, so as to not detract from work and prayer. Further, the town had limited their interaction with the outside world, compelling them to instead be constantly surrounded by each other. This hazardous combination of repression of emotions and interaction with only a small pool of people spurred private jealousies and vengeance within the townspeople, and it is here that the play commences.

The Dressmaker, Rosalie Ham

In contrast, Ham’s novel takes place in 1950s rural Australia, in the fictional town of Dungatar. Despite being set centuries after The Crucible , Dungatar is rife with the same parochialism (great word to use for both texts, referring to a limited/ narrow outlook), resentment and gossip as Salem. The town’s physical isolation - it is surrounded by 'wheat, yellow plains' and seems to be a 'dark blot shimmering on the edge of flatness' - corresponded with their metaphoric isolation from global events, creating an intense fear of ‘the other’. Further, similarly to The Crucible , the stark physical isolation ensures that each individual’s social interactions are limited to the town’s small population, fostering a breeding ground for narrow-mindedness and prejudice. Ham’s description of the way 'the crowd screamed with lust, revenge, joy, hate and elation' after a local football match win reveals the underlying emotions of the town, repressed behind a veneer of respectability and perceived moral propriety. All it takes is a stimulus, which arrives in the form of outcast Tilly Dunnage, to uncover the malicious undertones of the provincial town.

Example Context Paragraph

During VCE, I tended to use my first paragraph (in response to an essay prompt) as a way to explore the context of the texts I was studying, and relate the context to the essay prompt being addressed ( learn more about the different types of essay prompts here ). In this case, the prompt I have responded to is:

‍ Compare the ways in which The Crucible and The Dressmaker portray divided societies.

I was able to adapt much of this paragraph below to whatever essay prompts I came across.

The geographical isolation of rural, parochial towns can breed a kind of myopia amongst inhabitants and promote binary thinking. Salem is situated on the 'edge of wilderness’, with the 'American continent stretching endlessly West’. The 'dark and threatening' forest which ominously surrounds the town is believed to be 'the last place on earth not paying homage to God’, inciting the irrational fear that 'the virgin’s forest was the Devil’s last preserve' (1) . To combat the imminent threat of the 'marauding Indians' upon their arrival in Salem, the Salemites maintained that 'in unity…lay the best promise of safety’, and hence were governed as 'an autocracy by consent' (2) . Similarly, in The Dressmaker , the town of Dungatar 'stretches as far as the silos' and is described as a 'dark blot shimmering on the edge of flatness’. 'The green eye of the oval' is a physical representation of the town’s predilection for prejudice and endorsement of slyly watching others (3) . The stifling insularity experienced by both towns perpetuates a paucity of culture and 'parochial snobbery’, as well as fostering austere social expectations (4) . The totalitarian regime that governed Salem and their 'strict and sombre way of life' conditioned the people of Salem to repress natural human emotions so as to conform to the conservative and rigid values of society. Indeed, Miller’s description of the 'small windowed dark houses struggling against the raw Massachusetts winter' alludes to the Salemites’ dogmatically narrow-minded outlook and their repression of any individuality. Hence, despite the veneer of propriety upheld by Salem’s 'sect of fanatics’, the town is rife with hidden resentments and 'long-held hatreds of neighbours' (5) . Whilst moral respectability and piety conceal the true sentiments of the people of Salem, clothing is the mask for the 'liars, sinners and hypocrites' of Dungatar (6) . Though on the surface the town appears respectable, the true desires of 'the sour people of Dungatar' are revealed through their desire 'to look better than everybody else’. Their lack of connection with the outside world forces their constant interaction with one another and means that 'everybody knows everything about everyone' (7) . Thus, Miller and Ham postulate that geographical isolation inevitably forges unyielding social norms that repress human emotions and pits individuals against each other (8) .

‍ Annotations (1) In these two sentences, I’ve provided the geographical context of Salem. ‍ (2) My description of the geographical location is followed quickly by describing the town’s beliefs and values, which have a large impact on the social context. ‍ (3) Here, I’ve used the geographical context as a metaphor to explain the social context of Dungatar. ‍ (4) I’ve described a similarity between the two towns - remember to use lots of meaningful comparisons in all paragraphs ( LSG’s CONVERGENT and DIVERGENT strategy is a useful strategy for this). ‍ (5) I’ve detailed how the societal expectations and values of the Salemites (the people of Salem) can impact the behaviour of the characters. ‍ (6) Here, I’ve outlined a subtle difference (or divergence ) between Dungatar and Salem. ‍ (7) Once again, I’ve related the townspeople’s values and beliefs, as well as the physical context, to their behaviour. ‍ (8) I’ve ended with a meaningful comparison between the intent of the two authors.

Looking for more? Check out our other blog posts on The Crucible and The Dressmaker :

The Crucible by Arthur Miller

The Dressmaker by Rosalie Ham

Comparing The Crucible and The Dressmaker

Ransom and Invictus are studied as part of VCE English's Comparative. For one of most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative.

Introductions

Clint Eastwood’s 2009 film ‘Invictus’ centers on the events following the election of Nelson Mandela, South Africa’s first black President in the post-apartheid era. The film follows President Mandela’s attempt to infuse a deeply divided country with new energy, by supporting the South African rugby team’s victorious 1995 World Cup Campaign. The unlikely bond formed between President Mandela and Francois Pienarr, the captain of the rugby team, illustrates themes of unity and reconciliation in a divided nation. The film begins with the image of a deeply divided society in 1990, as Mandela is released from 27 years of incarceration. A poignant opening scene sees Mandela drive along a long dirt road that runs between two playing fields, on one side, young black children shout excitedly as Mandela passes. On the other side, immaculately dressed white boys stare vacantly, as their coach proclaims, “This is the day our country went to the dogs.” This tumultuous period in South African history is of central concern to ‘Invictus’, as Eastwood portrays the lingering racial prejudices imbedded in this society. The film portrays the tension between the bitter resentment of black South Africans towards their former oppressors, with the fear and uncertainty of white Afrikaners under Mandela’s political leadership. Eastwood masterfully depicts the true story of the moment when Nelson Mandela harnessed the power of sports to unite a deeply divided South Africa.

Set during the Trojan War, one of the most famous events in Greek mythology, David Malouf’s historical fiction ‘Ransom’ seeks to explore the overwhelming destruction caused by war, and the immense power of reconciliation. Drawing on the Iliad, the epic poem by Homer, Malouf focuses on the events of one day and night, in which King Priam of Troy travels to the enemy Greek encampment to plead with the warrior Achilles to release the body of his son, Hector. Maddened by grief at the murder of his friend Patroclus, Achilles desecrates the body of Hector as revenge. Despite Achilles refusal to give up Hector’s body, Priam is convinced there must be a way of reclaiming the body – of pitting new ways against the old, and forcing the hand of fate. Malouf’s fable reflects the epic themes of the Trojan war, as fatherhood, love, grief and pride are expertly recast for our times.

Malouf and Eastwood both depict societies on the brink: Troy faces annihilation by the Greeks, while South Africa faces an uncertain future as it emerges from the injustices of the apartheid era, both worlds are in dire need of true heroes to bridge the great divide. Together, these two texts echo the significance of hope in the enactment of change. To learn more, head over to our full Ransom Study Guide (covers themes, characters, chapter summaries, quotes and more).

The power of shared human experiences

Both texts are centrally concerned with the significance of the universal experiences of love, loss, grief and hope to unite a divided people. Both Invictus and Ransom explore how societal forces divide people into different, often conflicting groups – whether this be race, history, culture, or war. Each text appeals to the universal experiences that define the human condition, and emphasise the significance of opportunities to cross-cultural divides.

In ‘Ransom’, Malouf is centrally concerned with the theme of fatherhood. This concept links the mortal and godly realms, which King Priam straddles over the course of his journey. The relationship between Priam and Somax illustrates this complex theme most clearly. The two men, despite being deeply separated by their class, education and power, share their common familial experiences. Priam confronts the poignancy of their shared experience of losing sons, questioning whether it “meant the same for him as it did for the driver”. Malouf thus presents Priam as initially lacking in terms of his understanding, Somax’s friendship and stories are the catalyst for Priam to engage in deeper, empathetic understanding. Somax’s trivial yet symbolically significant story about the griddle-cakes represents a moment of anagnorisis for Priam, wherein the shared bond of humanity in fatherhood allows Priam to obtain insight, and progressively grow as a human and as a leader. This incident fuels the journey to appeal to Achilles “man to man”, Priam’s insight into the power of empathy allows him to appeal to their shared bond as suffering fathers.

Just as Priam goes to Achilles “as a father”, using their common quality, fatherhood, to further understand each other, Mandela, too, emphasises the point that you must “know [your] enemy before [you] c[an] prevail against him” and thus he “learned their language, read their books, their poetry”. Mandela attempts to unite Black and white South Africans, despite the mutual animosity and distrust fostered by decades of apartheid. Black and White South Africans share almost nothing in common, with significant cultural and societal barriers to their reconciliation, including different dialects. Rugby emerges as the most poignant manifestation of this divide as the White South Africans support their national team, but the black south Africans barrack for the opposing side. The scene wherein Pienarr and Mandela meet over tea is symbolic of this sentiment of fostering unity amongst deep divisions. President Mandela literally hunches over to pour the tea for Pienaar, this inversion of status demonstrates his willingness to reduce his dignity as a superior and speak with Pienarr, and by extension, white south Africans, on an equal level, modelling an example of how race relations in his nation should be carried out. This equality is also symbolised by the passing of the tea to Pienaar, the close up shot where both arms of the individuals are depicted on an equal level reinforces this sense of mutual equality and respect, extolling the virtues of empathy and integrity as a uniting force.

Leadership and Sacrifice

Mandela and Priam symbolise how leadership must inevitably entail familial sacrifices. Both leaders self-identify with their nation and people. Priam embodies Troy itself, his body is the ‘living map’ of the kingdom. The ‘royal sphere’ he embodies is constrained by customs and tradition, full of symbolic acts that separate him from the mortal world. To an extent, these royal obligations and ritual suffocate Priam’s individuality and he is unable to show his true nature, or connect with his family in the way he would desire to. He regards intimate relationships with his children as “women’s talk” that “unnerves him” as it is not “his sphere”. This articulation of the disassociation of the “royal sphere” with natural human bonds of family reveals the secondary role that family and love must take when one’s role as a leader is paramount. Similarly, Mandela claims “I have a very big family. Forty-two million people”. Unlike Priam, Mandela seeks human connection, predicating his leadership on democratic ideals. This takes a physical and emotional toll, as shown by Mandela’s collapse in his driveway. The cost of leadership here is evident, as Mandela has effectively sacrificed his family for the good of his nation. His strained relationship with his daughter Zindzi further reinforces this, as she disapproves of Mandela reaching out to Pienarr, likening him to one of the white “policeman who forced (her) out of her home”, showing the disconnect between father and daughter due to the sacrifices necessitated by Mandela’s life of leadership, including his 27 year imprisonment.

Fatherhood and Masculinity

In ‘Ransom’ Malouf presents an enclosed, limited and unemotional masculine world, with particularly stringent expectations for men’s behaviour. This is a world characterised by war, wherein the expectations of violent masculinity are paramount. In presenting Achilles inside of “a membrane stretched to a fine transparency”, Malouf reveals the constant tension between the emotional, domestic human nature inside Achilles and the hierarchical violent external society that he is expected to abide by, revealing the constricting nature that the society has on defining men’s actions. Malouf uses words like “knotted” and “rope-like” when describing Achilles’ muscles, implying that his conventional great strength, the source of his fearsome reputation, represents a confinement that the society enforces on him and other men. Further, through a degree of compassion, Priam is able to touch the “sore spot whose ache he has long repressed” in Achilles, a symbol of the emotions that have been supressed by the dominant patriarchal nature of this society.

Whilst the world of ‘Invictus’ is less overtly masculine and patriarchal, the narrative of the film is primarily focused on the male experiences, with female characters assuming a largely secondary role. Zindzi’s strained relationship with her father exemplifies the sacrifices involved in leadership. Whilst Mandela is seen to have sacrificed a close connection with his daughter, this is suggested to be in service of the nation, “I have a big family. Forty two million people”.

Character analysis and comparison

Character analysis/comparison.

- aging king of troy

- individuality has been subsumed by the ceremonial functions of his high position

- self-identifies with nation

- life of obligation

- foregoes convention and embraces chance with his proposal to offer ransom for his son’s body

- becomes more attuned to the natural world

- gains a greater appreciation of his true self as a man, rather than a symbolic figurehead

- historic figure, symbol of peace

- spent 27 years in prison for sabotage and conspiracy to overthrow the government while he was trying to gain civil rights for all south Africans

- tackled institutionalised racism, poverty and inequality

- suffered under apartheid

- pursues reconciliation, prepared to face down calls for retribution

- in his speech to the sports council, he defends the traditions of the people who persecuted him

- interacts easily with people of all social standings

- charismatic, in touch with the people

Comparison

- embody essential role that leadership plays in achieving just resolutions to conflict

- sacrifice family for leadership

- illustrate that effective leadership takes a toll on the individual

- exemplify that reconciliation requires unexpected and difficult acts. Such as Mandela’s embrace of the Springboks and Priam’s appeal to Achilles “man to man”

- both show effective leadership involves expressing empathy and understanding the humanity of your enemies

Literary and cinematic techniques

- In one of the first scenes in Mandela’s office after he is elected President, Eastwood strategically frames the racial segregation and tension between the two groups via the mise-en-scene; they stand on separate sides of the room, wearing distinctly different clothing and calling Mandela either “Mr President” or “Madiba”, representative of their own identity. The lingering tension between the two groups permeates the entirety of the film, and the microcosm of the bodyguards acts as a symbol of the chasm within the wider nation.

- The deeply symbolic scene wherein Mandela and Pienaar have tea, Eastwood strategically uses a close up shot to frame the passing of the tea cup so that both arms of the individuals are depicted on the same level, reinforcing this sense of mutual equality and respect. It is this sharing of hope that ignites Pienaar to reciprocate Mandela’s egalitarian actions. As Pienaar brings a ticket for Eunice, recognising that “there’s a fourth” family member, he mimics Mandela’s value that “no one is invisible”. Consequently, it is demonstrated that regardless of skin colour, characters reciprocate Mandela’s empathy and compassion, revealing the limitless power such human qualities to reach across the boundaries of division.

- The wide shot of the passing of the trophy from Mandela to Pienaar is framed against the large crowd, metaphorically representing South Africa’s support with the unity of the black and whites, reflecting Mandela’s desire to “meet black aspirations and quell white fears”. Their diegetic cheers work to create the idyllic depiction of the lasting power of this change, implying the true limitless nature of hope in their society.

Learn more through Caleb (English study score 47) about Invictus Film Technique Analysis - How Can I Write About It?

- Priam’s moment of anagnorisis in which he discovers the concept of “chance”, marks the beginning of his enactment of change through the power of hope. Despite his family who wishes that he would “spare [himself of] this ordeal”, Priam’s vision guides him to overcome familial and societal obstacles in pursuit of reconciliation.

- Symbol: Griddlecakes – represent pleasure in common things, but also the growing realisation within Priam of his distance from such pleasures. The love and care with with Somax’s daughter cooked the cakes has a value that surpasses the conventional riches associated with the ruling elite. This is a catalyst for a moment of realisation for Priam.

Updated on 11/12/2020

Themes in Ransom and The Queen
Similarities and Differences
Literary and Cinematic Techniques in Ransom and The Queen
Essay Topics for Ransom and The Queen
Resources for Ransom and The Queen

Set during the Trojan War, one of the most famous events in Greek mythology, David Malouf’s historical fiction Ransom seeks to explore the overwhelming destruction caused by war , and the immense power of reconciliation . Drawing on The Iliad , the epic poem by Homer, Malouf focuses on the events of one day and night, in which King Priam of Troy travels to the enemy Greek encampment to plead with the warrior Achilles to release the body of Priam’s son, Hector. Maddened by grief at the murder of his friend Patroclus, Achilles desecrates the body of Hector as revenge. Despite Achilles’ refusal to give up Hector’s body, Priam is convinced there must be a way of reclaiming the body – of pitting new ways against the old, and forcing the hand of fate. Malouf’s fable reflects the epic themes of the Trojan War, as fatherhood , love , grief , and pride are expertly recast for our times.

To learn more, head over to our Ransom Study Guide (which covers themes, characters, and more).

Set in the weeks leading up to and after the infamous death of Princess Diana in 1997, The Queen captures the private moments of the monarchy's grief and loss , and Queen Elizabeth II's inner conflict as she attempts to keep her private and public affairs separate.

The film opens with Tony Blair's "landslide victory" in the election as the "youngest Prime Minister in almost two hundred years", preempting viewers of the "radical modernisation" that's to come as he takes the reign. Juxtaposed with Blair's introduction is the stoic Queen Elizabeth II, residing in Buckingham Palace serenaded by bagpipes, in a ritual unchanged since Queen Victoria, immediately establishing the entrenched traditional values she represents. Princess Diana’s sudden death at the hands of relentless paparazzi results in turmoil in both the lives of those in the monarchy and adoring British citizens who mourn for the loss of the “people's princess". As days ensue with no public response from the Royal Family, the British people grow in disdain towards the authority , demanding a more empathetic response. Caught between the people and the monarchy is Blair, who sees the Royal Family’s public image suffer as a result of inaction.

Despite heavy resistance from the Queen, he eventually encourages her to surrender old royal protocols and adopt a more modern approach to meet public expectation: to fly the flag at half-mast, hold a public funeral, and publicly grieve for the loss of Princess Diana – all in all, to show the people that the monarchy cares. The Queen’s decision to accept Blair’s advice ultimately reconnects her with the British people and restores the Royal Family’s reputation amongst the public.

Together, Ransom and The Queen showcase the challenges involved in leadership roles : the inner conflict that leaves these individuals torn between their private and public demands . More on this in the next section.

2. Themes in Ransom and The Queen ‍

Parenthood and leadership.

In both texts, deaths act as a catalyst for both Priam and the Queen’s personal change – Priam’s son Hector, and the Queen’s, ex-daughter-in-law, Princess Diana.

In Ransom , we learn of the familial sacrifice Priam has needed to make as a leader . His separation from loved ones is expected as he has been ‘asked to stand…at a kingly distance from the human, which in [his] kingly role…[he] can have no part in'. Up until Hector’s death, Priam has been removed from paternal experiences, a sad truth when he admits that his relationships with his children are merely ‘formal and symbolic,’ and a part of the ‘splendour and the ordeal of kingship'. Unlike his wife Hecuba, whose grief is assailed by intimate moments with her children as she recalls, ‘Troilus was very late in walking…I was in labour for eighteen hours with Hector', Priam is unable to recall these private memories . Despite what would ordinarily be experiences shared by both father and mother, Priam cannot echo his wife’s grief to the same extent as these experiences have not been ‘in his sphere’ and he is even ‘unnerved’ by them. Malouf demonstrates how Priam’s royal obligations have suffocated his role as a father, and consequentially, he has been unable to connect with his family in the way he would desire to.

While Priam’s overt expressiveness in his limitations as a father may sway empathy from Ransom readers, Queen Elizabeth’s stoicism at first makes her appear cold-hearted and unfeeling. Her reaction to Prince Charles’ desire to fly a private jet to see Diana in hospital (‘Isn’t that precisely the sort of extravagance they always attack us for?…this isn’t a matter of state.’) is one from a leader's mindset - she's more concerned of the media’s reaction, rather than offering familial care and concern. However, as the film unfolds, viewers come to understand that her stoicism doesn’t necessarily come about because of her own personal choice , but rather, because her leadership role demands it of her.

TIP: Save the words ‘stoicism’ and ‘stoic’ to use in your essay. These words describe someone who experiences suffering but doesn’t openly express it.

We see the Queen’s quiet intentions to protect her grandchildren – ‘I think the less attention one draws to [Diana’s death], the better…for the boys’ – yet her silence is the inadvertent cause of public scorn. As such, Frears doesn’t make a villain out of the Queen, someone who on the outside may seem unfeeling and apathetic, but encourages viewers to see her from a unique perspective – a woman who struggles to manage her identity in both the private and public light.

It is only when Priam and the Queen detach themselves from their traditional roles that we see a change for the better in both of their personal journeys. Priam’s removal of his ‘jewelled amulet [and] golden armbands’ is symbolic of his shedding of the royal weight, and paving way for his step into a paternal role. Likewise, the Queen’s physical distancing from Buckingham Palace, an iconic symbol for tradition , into the public sphere where she mingles with the British people enables her to finally play the role of a grandmother. Both texts show how parenthood can lead to a more enriched human experience. Malouf finally portrays Priam as a happy man when he has the vision to be remembered in his legacy for his role as a father first, then as a king. Likewise in The Queen, her highness’ public mourning connects her with her people , and brings her joy and delight at last.

Tradition, Change, and the New

Both texts explore the challenging tug and pull between upholding traditions and making way for the new.

As humans, we cherish traditions because they are customs or beliefs that have been passed on from generation to generation. They have sentimental value, and by continuing on these traditions, our actions show that we respect the path our elders have laid for us. Tradition is not necessarily depicted in a negative light in either texts, but rather, shown to have its place. The Queen’s resistance against sailing the flag at half mast is out of deference for her elders. Even Somax’s casual storytelling about his daughter-in-law’s griddlecakes is customary, as each time his son would ‘set up the stones’ and her ‘quick and light…flipping’ of the cakes. However, Frears and Malouf both assert that adaptability in upholding tradition is also needed in order for us to grow and develop as humans.

The new is not depicted as an experience one should fear, but rather, an experience one should approach with curiosity . As Malouf writes, ‘[Priam] saw that what was new could also be pleasurable'. The following positive expressions from the king ‘chuckling’ and ‘smiling’ echo the sentiment that while humans naturally resist change, embracing it is often beneficial to our lives. To be meta, Ransom is the retelling of the Trojan events, but Malouf adds to this tradition with a fresh perspective on the story.

Frears and Malouf both demonstrate that change is often propelled into possibility through the support and urging of others . Priam’s vision for his journey is instilled by the goddess Iris, who comes to him in a dream. His consequential journey is supported by Somax, whose ordinary everyday experiences teach Priam more about fatherhood than he had learnt as a father himself. Meanwhile, Achilles drags Hector’s body day after day, with no intention of change until Priam suddenly appears in his camp. Both texts highlight the influence those surrounding us can have on our personal change.

3. Similarities and Differences

At LSG, we use the CONVERGENT and DIVERGENT strategy to help us easily find points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, it's worth checking out my How To Write A Killer Comparative ebook to see how you can really set yourself apart and ace Comparative writing. I use this strategy throughout my discussion of themes above and techniques in the next section. To help you get started, here are some questions to get you thinking about the similarities and differences between the two texts:

Public vs. Private Spheres: how is public vs. private life portrayed in either texts?
Stories and Storytelling: who tells the story in either texts? Is there power in storytelling? Why do humans share stories?
Grief, Death, and Loss: How do humans deal with death? What emotions do we experience?

4. Literary and Cinematic Techniques in Ransom and The Queen

Opening portrayals of queen elizabeth and priam.

When Charles consoles Prince William and Harry after informing them of their mother’s death, Queen Elizabeth peers inwards from outside the room, distant and removed from her family. The enclosed frame of the door only serves to heighten her isolation from her family as she is pained by the ‘unrestrained intimacy and affection’ between the boys and their father, something she is unable to partake in. Her face half-covered by the shadows stresses how her familial experience only occurs from afar as she prioritises her role as her highness. Internal change, at least at this point in the film, has yet to begin.

Meanwhile in Ransom , Priam’s journey of personal change is established immediately as he realises that he needs to move beyond this ‘brief six feet of earth he moves and breathes in'. The finite space he has become accustomed to now almost represents (and this may be an intense interpretation) a jail cell in which he as a father, as a human being, has been incarcerated in. He is ready to pursue a new identity beyond just that as a king. Both Ransom and The Queen showcase the sacrifices made by both leaders, and the rigid, almost-dehumanising expectations that are set upon them when they take reign. Both texts encourage their audience to empathise with the leaders , for the challenges they face in their unique positions.

The Queen Film Techniques

I created an in-depth video on the first 20 or so minutes of The Queen you'd might find helpful. Have a watch and see whether you missed out on any film techniques:

[Video Transcription]

To begin with, we have this quote that is displayed at the very start of the film, and it says,

"Uneasy lies the head that wears a crown,"

and it's spoken by Henry IV Part II. So, the Part II gives me an indication that this is a quote from some way in Shakespeare's texts. If I then go on Google and actually have a look and type up this quote, then I know for sure that it is indeed from Henry IV Part II, a text and play that was written by William Shakespeare. So, I'm telling you these things because this is actually how I would go on to learn information about the film. I don't just automatically know for sure that it is from this particular text that Shakespeare wrote up. So, I want to ensure that I'm right by going and having a look at Google.

Quotes at the start of any film, at the start of any book, usually have importance to them and they usually should give you an insight as to what's to come. And, for me, I find when I look at this particular quote, it definitely links to the themes of leadership, of motherhood, parenthood, and of perhaps the sacrifices that the queen has needed to make in order to lead her nation. So, with this particular quote, I would write it down somewhere and keep it in mind as you're watching the remainder of the film, because you'll see those themes come to life and have a better understanding of what this quote is talking about.

So, immediately, this film opens up with a news presenter talking about Tony Blair going to the election polls. It's displayed as footage on a TV screen. This gives us insight into a couple of different things. Firstly, it gives us context. The second thing is that it's displayed on a TV and it's broadcasted by a news channel. And, as you probably know, the media, the paparazzi, and just the entire culture of representing news during this time is something that will be heavily explored throughout this film. Especially because it may or may not have led to the death of Princess Diana.

So, again, contextually, it gives us an idea that around this time, the news media was quite overwhelming and omnipresent, which means that it was sort of just everywhere. It was always around. It's sort of no different from today, but there's a reason why they establish it as an opening shot. And that's just sort of give us as viewers an understanding that the news has a big play in what's going to happen in the remainder of this film.

So, I really liked the quote,

"We're in danger of losing too much that is good about this country, as it is,"

that's spoken by the painter, who's drawing a portrait of the queen. This, again, sort of establishes that idea of change immediately at the beginning of the film, or should I say, resistance to change. So, it's already sort of outlining the path that this film is about to take.

Again, I really like this quote,

"The sheer joy of being partial."

So, from the onset with the queen, I think it's important to understand that we don't villainise her, or at least the director doesn't villainise her. He portrays her as a human being, as somebody who is in this position of the queen, which has a lot of weight upon it. And you can tell that she's all glammed up and she's fulfilling her role as the queen, but she's admitting that she envies us as everyday citizens being able to vote, to be able to have an opinion, and just go to the booths. To me, this establishes her as somebody who I empathise with, or sympathise with even.

I think this part with the music in the background and how the queen breaks the fourth wall. So, the fourth wall is basically when any character inside a film actually looks directly at the camera, at you, as the audience. And, to me, this gives me a sense of joy. It makes me feel like it's quite funny, the way that she's looking at us, especially with the...and again, this sort of reiterates my idea that we're not supposed to look at the queen as some evil or some cold-hearted person who is unfeeling for Diana's death later on, but that she's just like one of us and she can participate in a joke and we come to see this in a little bit.

So, in the next scene, we have a wide shot of Buckingham Palace, and in the background, you can hear bagpipes playing. This is something called diegetic sound. Diegetic sound is when you have sounds that come directly from the world in the film. So, the bagpipes sort of establish this sense of tradition. Everything in the scene represents tradition. Buckingham, Palace, the flag, the bagpipes, and that as an early shot of this film sort of shows us the entrenched tradition that exists. That nothing has changed as of yet, and things as sort of going on as they've always had.

Again, Frears is trying to show us the human side of the queen. And so that's why we've got the shot of her waking up in bed. She's all cuddled up and snuggled up in warm and comfy bedding. And it shows that she's vulnerable, in a way. And this is important for us as viewers, as we come to understand her inner thoughts and feelings later on.

So, immediately when the queen wakes up, she has a pile of newspapers in front of her. That adds, again, to that sense of omnipresent media. It's all around us, at least in that period of time.

This time, we have archival footage. So, archival footage is footage that has been taken from that period of time and placed into this film. It adds to the film's sense of authenticity, the fact that it's based off historical offense.

I really like this shot as the queen and Robin walking down the hallway to meet Tony Blair. This is a great snapshot and a great mise-en-scene. And mise-en-scenes, basically, to me anyway, it's when you pause the screen and it's everything that's inside that shot from props, in the foreground, in the background, what the person is wearing, or what the characters are wearing. So, with this particular art, we can not only see the two characters, but we can also see everything that's in the background.

And again, this really adds that sense of tradition because you've got all these paintings from probably famous people back in the day, or ancestors of the monarchy, and then you've got Robin saying he's promising a constitutional shake up, the first one in 300 years, and the queen saying, "Oh, you mean he's going to try and modernise us?" This is a great juxtaposition between the new coming in versus the old.

When Robin makes the joke about Tony Blair's wife having a curtsy that's described as shallow, it's humorous, it's funny, and the queen laughs as a result. The humor that's speckled throughout this film, I think really helps to lighten up the situation, but also to again, show us that the queen is human and that she can enjoy a joke.

I think this is a great snapshot as well. So, we've got the camera looking down at Tony Blair and his wife. When a camera does look down at an object or character, it gives us, as the audience, a sense that that person or character is inferior or they're not in a position of control. And it ties in with the fact that this is Tony Blair's first day in Buckingham Palace as a prime minister and he's only just onboarding the role.

So, in terms of him versus the queen or the monarchy, which is symbolised by everything around him, the setting that he is encompassed in, it shows that he really isn't the one who's playing the field here. He's not the one who is in charge. I love that we've got one of the queen's men giving them rules on what they need to do.

So, we're slowly walking up the stairs towards the queen who is in position of power. So, the staircase is quite symbolic.

Another important thing to know is that Mrs. Blair is actually accompanying the prime minister this first time round that he goes to Buckingham Palace. It shows that he is nervous, he said it himself, but he's not entirely comfortable with his role yet. So he needs the support of his wife. This is in comparison with later in the film at the very end, actually, where Tony Blair goes to Buckingham Palace himself and conducts a meeting with the queen, very similar to the one that he's doing now.

This shot where we've got Mrs. Blair sitting opposite the guard at quite a distance adds to the sense of awkwardness, and it's paralleled with the sense of openness between the queen and the prime minister as well. So, it shows that we've got the old and the new sort of coming together and sort of not really gelling.

Something to keep an eye on is parallels in the film. It's always a really good idea to compare the start and end of this particular film, because we've got such similar scenarios in meaning at the start of the film and in meaning at the end of the film. What you'll notice in this particular scene is that they don't appear in the same shot. They sit opposite one another and one shot on Tony Blair, one shot on the queen, and it sort of goes back and forth. And that's to heighten that sense of distance between them. That sense of unfamiliarity. This is in comparison with the end of the film when we see the two of them walking down the hallway together, out into the garden as equal.

Here's another great shot. So, to add on the idea of the queen having more power versus prime minister, it's quite clear here as he sits down and asks for her hand.

I love the way that Mrs. Blair walks. She's sort of like half...I don't know how you would explain her stride, but it's obviously not one that is aligned with how the queen walks, which is quite poised and quite together. Rather, Mrs. Blair's walk is sort of frumpy, it's sort of bouncy, and her arms are sort of flailing around a little bit, and so adds to that sense of new, of change, of difference. And so that adds to the story of Tony Blair and his family and what he represents as something new and different and probably unwelcome for the queen.

So, that's it, that's my analysis of the first 10 minutes or so of this film. If you're interested in a more detailed film technique analysis, I've just written a killer comparative based on Ransom & The Queen. In this, I show you film techniques that I pick out throughout watching the film, how to analyze them, and also then go on to show you how they are used in A-plus essays. I'm so confident that this study guide will be able to help you improve your understanding of both texts and get you towards that A+ for your SAC and exams.

If you're curious about what's inside the study guide and want to see if it's right for you, head on over and read a free sample to see it for yourself. I hope it gives you something to launch off. If you have any questions, feel free to leave them in the description box below. I have plenty of resources for you guys down there as well if you needed help for your SAC and exams and I'll catch you guys next time. Bye.

Historical Footage and Context

Based on historical events, The Queen is interspersed with real archive television footage leading to, and following Princess Diana’s death. Frears incorporates these clips to help provide viewers insight on the politics, media culture, and public reaction in 1997.

Princess Diana’s introduction through archival clips at the beginning of the film highlight her as a vulnerable individual at the mercy of oppressive and intrusive tabloid newspapers. The sweeping pan of paparazzi on the night of Diana’s death serves to emphasise the obsessive media, who at the time, were paid in excess of one million pounds for taking photos of her. Moments of her kissing on a boat are revealed to the world without any respect for her privacy. This archival footage helps viewers understand the distressing omnipresence of the media, and the turn of the public against the paparazzi and media following Diana’s death.

Likewise, Malouf uses parts of The Iliad as foundations for his novel. The original tale, written during the 8th century BC, explores in detail Achilles’ refusal to fight for his leader Agamemnon, Patroclus’ role in the war, and also the disputes between the gods as they argue over the fate of mortals. By offering a retrospective of this historical story, Malouf invites readers to better understand the Trojan War and Greek mythology, and the impact the gods had on Trojans and Greeks.

For more discussion on literary and cinematic techniques, have a look at my A Killer Comparative Guide: Ransom & The Queen . In this in-depth study guide, Angelina Xu (ATAR 99.6, 46 English study score) and I also break down 5 essay topics, providing you explanations on how to brainstorm and plan each of these essays, then convert these plans into A+ essays complete with annotations! I've dropped some sample essay topics below for you to try at home yourselves:

5. Essay Topics for Ransom and The Queen

"I told him he shouldn't change a thing." ( The Queen ) Compare how Ransom and The Queen explore resistance to change.

Compare the ways the two texts explore the efficacy of different leadership types.

Compare the ways the two texts explore the importance of storytelling.

'Wordless but not silent.’ ( Ransom ) Ransom and The Queen explore how silence can be louder than words.

"Uneasy lies the head that wears the crown.” ( The Queen ) “...the lighter role of being a man.” ( Ransom). Compare how the two texts show the burden experienced by those in leadership positions.

‍ 6. Resources for Ransom and The Queen

Ransom Study Guide

[Video] Ransom Themes (Revenge, Grief, Forgiveness) and Essay Topic Tips!

The following resources are no longer on the study design; however, you might still pick up a few valuable tips nonetheless:

[Video] Invictus and Ransom | Reading and Comparing

[Video] Ransom Literary Devices & Invictus Film Technique Comparison

In your English class, you probably feel like your teacher is making stuff up. Moments where you think, “The author can’t possibly have meant that”. To your English teacher, the smallest details have major implications in interpreting the text.

In fact, you probably agree with jokes like this:

The Book: “The curtains were blue.”

What your teacher says: “The curtains represent the character’s depression.”

What the author meant: “The curtains were blue.”

Or even this one...

The disconnect you feel between yourself and the teacher is not just because your teacher is stretching for something to analyse. Whilst the author may have meant something different to what your teacher thinks, this doesn’t mean your teacher is strictly wrong. Context and the author’s intention are two complicated considerations in English, and a whole range of study is dedicated to it. At the VCE level you must consider the context your text was written in, and the author who wrote it, but this shouldn’t hinder your own unique interpretation of the text.

Before you begin reading, I'd highly recommend that you check out our Ultimate Guide to VCE Text Response .

Your interpretation is more important than the author's intention

In 1968, Roland Barthes proposed a theory that has stuck with critics and academics of literature. “The Death of the Author” claimed that the biography, views, or intentions of the author are not a part of the literary object.

The text you are studying in English does not belong to its author, but to the reader, and what the reader decides to make of that text is valid, as long as it is backed up with evidence (as your teacher will say). Barthes’ original essay is complicated, but at a basic level, “The Death of the Author” says that the curtains are not only representative of the character’s depression but could also represent the character’s love of blue orchids.

When we read, we automatically apply our own experiences, biases, and understanding of the world to the text. As such, each person is likely to interpret a text in different ways. This is a major part of studying English, as the critic (you) is more important than the author’s original intention. The fact that a single text can give rise to multiple interpretations is the reason we study English; to debate these interpretations. When you are given an essay topic you are being asked for your opinion on one of these debates, not the author’s opinion on their own work. If you were reading The Fault in Our Stars and claimed it romanticised cancer, you would be participating in the literary debate, despite going against John Green’s original intentions.

In the modern age of mass media, the author is attempting to revive themselves. These are authors who attempt to dictate interpretations of their works after they have been published. The most famous of these is likely J.K. Rowling, author of the Harry Potter series. Rowling’s twitter page adds many pieces to the Harry Potter canon and Rowling offers her own interpretations of the text. To Rowling, her intentions are the only correct ways to interpret her texts, and as such she shares them frequently.

This is not true, however, for any author. Authors are not the be-all-and-end-all when it comes to the interpretation of their texts. Despite having intentions and opinions on their texts, there is also evidence which counters their interpretations.

When it comes to the debate surrounding the texts you study, you need to remember that the interpretation of the author is only one part of the debate. It is an opinion equal to everyone else involved in the debate. Imagine the author is on trial. They may have an opinion of the crime (or text), but so does the prosecution. You are the jury and must come up with your own interpretation of the crime. Whether it matches up with the author’s intentions or not does not matter, as long as there is supporting evidence within the text.

Context in VCE English

But what about the circumstances in which something was written? Every time you start a new text you are probably asked to research the time in which it was written, or what major political events may be relevant. Unlike the author, these factors are very important in interpreting a text.

For starters, a text may explicitly reference a certain event, and so understanding that event is key to understanding the text. An episode of the Simpsons may make fun of Donald Trump, and the writers assume we have the contextual knowledge to know who Donald Trump is, why he is important, and why the joke is funny. It is easy for us to understand this context because we live in the context.

If you’re studying texts from 200 years ago it becomes harder to interpret because we’re unfamiliar with the context. While you don’t have to know the context of your text perfectly, understanding the cultural beliefs and major events will help you consider the text objectively.

Researching the context of a text acknowledges that literature is a product of the culture and politics of its time. Its themes may still be relevant in the modern age, but it is difficult to fairly judge, critic, and interpret these texts if we do not consider the context in which it was written. A piece of literature will either follow or criticise the views and opinions of the time, and it is the responsibility of the reader to understand these views and determine where the text sits.

Okay, so the text is a reflection of the time from which it stems, and is separate from the author that wrote it? Not quite. Counter to “The Death of the Author”, the author is also a part of context, and this means certain parts of the author should be considered in interpreting a text.

If there is ambiguity in the meaning of a text, the author’s personal beliefs may clear it up. If a character of a certain race is stereotyped and mocked, the meaning of this may change depending on the race of the author. If an author stereotypes their own race, they might be criticising the way other people see them, whereas making fun of a different culture is most likely upholding racist or discriminatory belief systems.

If you're studying VCE Literature, read The Importance of Context in Literature for some further info!

Deriving Meaning From Texts in VCE English

So, what ARE the curtains?! What do they mean? Well, they're a metaphor, representing more than their literal role as curtains. But also, they’re just blue.

The truth is whilst context and the author are relevant, we should try to gain as much from the text as possible before relying on the context to guide our interpretations. While studying your texts, it is reasonable to apply modern standards to your interpretations.

Shakespeare’s plays are a tad sexist, and we’re able to criticise that, despite Shakespeare writing in a different context. For more on studying Shakespeare in VCE, read How to Approach Studying Shakespeare . But it would also be difficult to appreciate the meaning of texts without the context, especially when the text is a response to a major event. At the same time, we’re allowed to expand on what the author has written. We are not confined to what the author meant to say when we interpret texts. As an English student you have the opportunity to consider what each word may represent for the characters and how it influences your unique interpretation.

So, the curtains mean whatever you want them to mean. You can make reasonable assumptions about a text based on the context it comes from and from the author’s life, but you shouldn’t assume that something means nothing. Trivial things like the colour of curtains may not have been important to the author but allow us as English students to analyse and look deeper into the text, its themes, and the psyche of the characters.

In your SACs and exams looking at these small details and deviating from the author’s intentions is an easy way to stand out. Looking to get to that A+ level? Read How to Turn Text Response Essays from Average to A+ . So, when your teacher says the curtains are a metaphor, consider what else could be a metaphor, and don’t assume the author has all the answers, or that there is only one interpretation.

Tracks and Into The Wild are studied as part of VCE English's Comparative. For one of most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative.

INTRODUCTIONS

Into the Wild (2007) is a non-linear survival film directed by Sean Penn, which is based on Jon Krauker’s 1996 novel of the same name. It recollects the final few months of the life of Christopher McCandless as he departs from society in both an act of resistance as well as a means of self-discovery. A bright young college student in the 1990s, McCandless abandons his family and affluent lifestyle to embark on a frontier-style journey into the Alaskan wilderness. Troubled by a dysfunctional family and disenchanted with the materialistic excesses of 1980s America, McCandless seeks a radical engagement with nature, in the style of his literary heroes Henry David Thoreau and Jack London. After 113 days in the wilderness, he suffers from starvation and dies. The true story of McCandless’ journey renders the film an important depiction of self-reliance, isolation, and the unparalleled power of nature.

Whilst the film is of a biographical nature, it is important to understand that it is heavily subject to the interpretations and opinions of Penn. The story is informed by McCandless’ writings, and interviews with those who knew him, but is ultimately a work of artistic interpretation. Nonetheless, Penn’s film offers strong commentary regarding the materialistic, consumerist nature of modern living, whilst also ultimately emphasising the more humanistic importance of family and love.

Tracks is Robyn Davidson’s 1980 memoir detailing her perilous journey through 1700 miles of Australian outback and the remarkable character transformations that take place throughout. The events of the story begin in 1973, when a young Robyn Davidson arrives in Alice Springs with an outlandish plan to train wild camels to accompany her through the Australian desert. When, after two years of gruelling training, she receives a sponsorship from National Geographic, her journey can finally go ahead- on the condition that a photographer accompany her and document parts of the journey. This compromise weighs heavily on Robyn, as photographer Rick Smolan intrudes on her solitude and compromises everything the trip means to her. As Robyn delves deeper into the journey, each day brings new discoveries about the camels, the landscape, the people of Australia, and ultimately, her self. Tracks emerges as a candid and compelling story of one woman’s odyssey of discovery and transformation.

Whilst Tracks is mostly a personal account, it also presents a co-existent dichotomy between modernistic libertarianism and conventionalism, which serves as a reflection of the changing political views and ideological turbulence of the time, as Davidson notes ‘you could choose not to participate in politics, but you could not avoid politics’. Thus, in many ways Davidson’s journey can be seen as a firm statement that challenges the inherent sexism, racism, and ‘status quo’, whilst also simultaneously embracing the notion of freedom, independence, and escape from conventionalism and ‘self-indulgent negativity’.

At LSG, we use the CONVERGENT and DIVERGENT strategy to help us easily find points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, check out my How To Write A Killer Comparative . I have used this strategy to create this themes table and throughout my character, views and values, and literary technique analysis.

CHARACTER ANALYSIS

Both Robyn Davidson and Christopher McCandless are products of the time period in which they live, and reject the concept of adhering to a predetermined notion of who they should be and how they should behave. Both embark on their journey because they reject the expectations of their class and gender.

AUTHORS VIEWS/VALUES

Women’s rights in 1970s australia .

Tracks is set in the late 1970s, an era of intense social and political change in Australia. The second wave feminist movements of the 1960s and 70s were enormously influential in Australia, as women began to dismantle the sexist structures inherent in Australian society at this time. Davidson describes Alice Springs as hopelessly in the grips of a ‘cult of misogyny’. She rejects the archetype of the passive, docile woman. She is passionately determined to shed her own sense of herself as traditionally “feminine,” a quality she sees as arising from being trained from birth to be “door-mattish”.

Davidson acknowledges her gender has played a central part in the media’s fascination with her journey. The character of the ‘camel lady’ that emerges suggests the significance of her trip, as a woman travelling alone in the 1970s through intensely difficult terrain. Davidson describes the late sixties and early seventies as a time of radical social time, when “anything and everything seemed possible, and when the status quo of the developed world was under radical scrutiny by its youth”. Thus Davidson’s actions must be considered in the context of this time, at the peak of the second wave feminist movement.

There are many explicit examples of Robyn facing misogyny and embodying feminist principles. One such example is when an Alice Springs local suggests she’s the “next town rape case”. This statement reveals the position of a woman in this misogynistic society, wherein a single woman travelling alone through the bush was synonymous with danger and irresponsibility. Davidson rejects this ideology and refuses to succumb to the violent sexism she encounters, or compromise her journey.

Tracks is not an explicitly feminist text, but it clearly echoes the philosophies of feminism. In the years since the trek, Robyn Davidson has become a feminist symbol of defiance, endurance and strength. Thus to consider Tracks from a feminist perspective is important when studying this text, Davidson’s criticisms of Australian misogyny inform our understanding of this historical context, and the significance of her actions.

Some example sentences:

Davidson exposes the realities of misogynistic Australian culture in the 1970s.
Davidson’s journey emerges as a defiant example of women’s strength and independence.
Davidson’s friendship with Gladdy Posel suggests the injustices of women’s financial dependence on abusive men and condemns the limited options for women, particularly for those in rural settings.
Tracks challenges the constraints of gender through a narrator that cannot be defined by stereotypical images of the domestic and passive female.

Indigenous Rights in Australia

The 1970s saw the first attempts to improve the lives and rights of indigenous Australians. In 1971 Indigenous people were counted in the census, and in 1976, the Aboriginal Land Rights Act was established. Davidson’s time with Mr Eddie exposes her to the harsh reality of the living conditions of Indigenous Australian’s throughout the 1970s, as well as inspiring a deep appreciation for the culture and connection with the land. Davidson is frustrated with the mistreatment of Indigenous people in Australia, and feels ambivalent about her status as a white, privileged, outsider in their community. Davidson confronts the racist and discriminatory stereotypes and attitudes towards Indigenous Australians, and experiences first hand the realities of the issues these people face. Davidson encounters intense generosity and friendship in the Indigenous community that she admires and presents as a stark contrast to the intolerant attitudes of white Australians in Alice Springs.

“The blacks were unequivocally the enemy – dirty, lazy, dangerous”
“Aborigines. Warm, friendly, laughing, excited, tired Pitjantjara Aborigines...” (p. 155)
“Ceremonies are the visible link between Aboriginal people and their land. Once dispossessed of this  land, ceremonial life deteriorates, people lose their strength, meaning and identity.” (p. 167)  
Davidson renegotiates her identity and relationship with the land after learning from the Indigenous Australians.
Davidson condemns the racist attitudes of white Australians towards the aboriginal people.
Davidson embodies the changing attitudes of young Australians towards aboriginal Australians, endorsing a respectful relationship with the traditional land owners.

INTO THE WILD

Social criticism of materialistic excess.

While Into the Wild is set in the 1990s, McCandless’ formative years were the 1980s – a decade characterised by the consumerism, extravagance, and materialism of President Reagan’s America. The reverberating effects of this time period inform McCandless’ general outlook and disdain for American society. Whilst this contempt for consumerism is one motivation for McCandless’ actions, he is equally troubled by the family violence and dysfunction he experienced as a young man. This traumatic past informs his extreme actions and outlook.

Example sentences:

Penn exposes the effects of materialistic society on young impressionable people.
Penn explores the consequences of experiencing childhood trauma, and how this manifests in adult actions.
Penn condemns the expectations of 21 st century nuclear families.
Penn endorses the liberating power of familial love and relationships.

Depiction of the unparalleled power of nature and man’s inability to contend with it

Inspired by Thoreau and London, Chris seeks enlightenment in the wild. Despite a philosophical understanding of the power of nature, Chris believes he can survive the untamed wilderness of Alaska. Although nature is the locus for self-realisation and growth for Chris, it is also what destroys him. As the viewer watches him slowly deteriorate, we come to fully comprehend the force of nature – suggesting man’s inability to control it.

Penn’s depiction of McCandless’ deterioration suggests human’s inability to control nature.
Penn endorses the liberating power of literature, but cautions the idealism contained within romantic depictions of nature.

LITERARY TECHNIQUES

Narrative voice.

An important aspect of Into the Wild to consider is that McCandless’ story, while true, is told through Sean Penn’s directorial lens, which is in turn based on Jon Krakeur’s book. The story is informed by McCandless’ writings, and interviews with those who knew him, but is ultimately a work of artistic interpretation. Consider how this affect’s a viewer’s perception of Chris, does this raise questions around representation and identity? This is in direct contrast to Tracks , which is a first person, linear past tense, autobiographical account of the writer’s experience. Where Robyn is completely in control of her narrative, McCandless’ is subject to the artistic interpretation of others.

Anthropomorphism

Anthropomorphism is defined as the attribution of human characteristics or behaviour to a god, animal, or object. Robyn repeatedly personifies the animals she encounters. The camels in particular take on their own human personalities in her life. This technique, called anthropomorphism, can be used to complement a discussion of the theme of isolation. Robyn attributes distinct characteristics to each camel, suggesting her need for companionship and the powerful absence of human connection in prolonged periods of isolation.

Davidson’s depiction of her dependence on animals reveals deeper meanings about her inability to depend on, and communicate with, humans in the same way. Robyn’s reliance on her dog, Dookie, becomes more intense as the journey continues. Upon Dookie’s death, both the reader and Robyn experience the dog’s death as a powerful blow.

“I am quite sure Diggity was more than a dog, or rather other than dog. (p. 207)”
“But I said goodbye to a creature I had loved unconditionally, without question. ... I walked out into the morning and felt nothing. I was numb, empty. All I knew was I mustn‟t stop walking. (p. 223) ”
“Diggity had become a cherished friend rather than simply a pet. (p. 227)”
Kate: “remembered humans and hated them”
Zeleika: “had a lovely gentle nature” “the street-smart, crafty, unfazable, self-possessed leader”
Dookie: “nominally king, but if anything untoward happened he was the first to hide behind Zeleika’s skirts”
Goliath: “cheeky, pushy, self-centred, demanding, petulant, arrogant, spoilt and delightful”

SAMPLE PARAGRAPHS

Prompt: Discuss the ways in which the environment assists the protagonists in their journey for self-discovery.

Introduction: In forging connections with the environment and people around us, humans end up inadvertently discovering themselves. It is this notion that resonates throughout both Robyn Davidson’s 1970 memoir, Tracks , and Sean Penn’s 2007 film, Into the Wild , where the relationships that the protagonists form throughout their journeys leads to intense self- discovery and growth. Both Davidson and McCandless seek knowledge and guidance through both the individuals they meet and, specifically to McCandless, the books he reads, citing it as a means of grappling with the fundamental stages of self-discovery. Whilst Davidson and McCandless experience different relationships with their immediate family, it is ultimately the concept of family that underpins their motivations and inspires them to pursue their journeys – both physical and psychological. Further, the respective temporal environments in which both protagonists are immersed in emerge as a distinct theme that facilitates each stage of self- discovery in the climatic lead up to the ultimate self-realisation.

Body Paragraph 1: Both Into the Wild and Tracks endorse the guiding power of influential figures on both protagonists, as a catalyst for their growth. Davidson commences her self-described ‘lunatic’ journey with little knowledge of the wild to substantiate her mammoth ambition. That her drive outweighs her preparation manifests in the early moments of the text, wherein Davidson endures a grueling internship with the impulsive ‘maniac’ Kurt Posel. This man appears the epitome of the ‘biased, bigoted, boring and above all, brutal’ man she describes as the stereotypical ‘Aussie male’. Kurt is abusive to both Davidson and his wife, but his eccentric and impulsive ways expose her to the harsh realities of bush living. Ultimately, Kurt’s guidance allows Davidson to gain the fundamental skills she needs to train camels, whose dispositions reflect the erratic nature of Kurt himself. In direct contrast to this tense, exploitative relationship, is Davidson’s nuanced and spiritually rewarding relationship with Mr. Eddie, an aboriginal elder whom she describes as a “sheer pleasure to be with”. Despite an ostensible language barrier, Eddie’s instruction of the Indigenous Arts and Culture leave an impressionable impact on Davidson’s character and personality. By accepting Eddie’s guidance at a pivotal point in her journey, Davidson’s ambivalent sense of self, the overwhelming feeling of being an imposter, is diminished. Davidson becomes more grounded and connected to her environment; the knowledge that she derives from key characters contributes to a distinct conformational change in her personality and thus critically assists her in developing a strong sense of one self. A similar theme resonates in Into the Wild , where Chris McCandless heavily relies upon the guidance of various prominent figures he meets throughout his journey as well as ‘the characters of the books he loved from writers like Tolstoy, Jack London and Thoreau’ whose words he could and often would ‘summon….to suit any occasion’. The fact that McCandless readily referred to the words of the likes of Tolstoy, London, and Thoreau amidst times of mental angst and challenge, is a significant reflection of not only the quintessential teacher and student relationship he shares with them, but also the level of impact they have had in shaping in the ideological processes that define Chris’s values and sense of oneself. This very idea is furthered by Sean Penn when he depicts Christopher McCandless quoting soviet Russian poet, Boris Pasternak, suggesting that humans ‘ought to call each thing by it’s right name’, following which he acts impulsively and with great haste, engineered with rapid and distorted camera movements. In doing so, Penn illustrates the importance that Chris places upon the words of such idealists to the stage where he acts upon their advice without giving them proper consideration within his literal, temporal context. The protagonists of both Into the Wild and Tracks , both rely upon the knowledge and guidance of individuals, be they physical or via literature, as a means of grappling with their fundamental understanding of the human spirit and in doing so their intricate understanding of themselves.

Body Paragraph 2: Both texts demonstrate a degree of discontentment and resent towards the institutionalized, '20th century convention' of family. Davidson describes the notion of family as “invisible ropes and chains” of guilt, she comments that families lack for the most part, a true sense of love. This sentiment is starkly contrasted with Davidson’s intense engagement with the wild, which she describes in the language of love and connection. “I love you. i love you sky, bird, wind, desert, desert, desert’ proclaims Davidson, as she describes having “no more loved ones to care about” and “no more ties” to bind her to material existence. Davidson laments the distortion of her journey for public consumption, stating “so far people had said that i wanted to commit suicide, that i wanted to do penance for my mother’s death…” this comment is one of the only references to her mother’s suicide, which can be interpreted as a catalyst for her ambivalence about the notion of family. This experience evidently informs Davidsons’s somewhat impenetrable exterior and suggests a deeper complexity to her resistance of 20th century societal expectations. Similarly, Christopher McCandless articulates a powerful contempt for family. McCandless feels impeded in his personal motivations by the familial concepts of ‘graduating college’ and ‘getting a job’ which he describes as “20th century inventions” inextricably linked with “this world of material excess”. McCandless expands on this point, commenting that his pursuit for self-discovery has ultimately resulted in ‘the killing of the false being within’, the ‘false being’ that was bound to the societal expectations and the material conventions of the time. Chris’ departure into the wild is as much of an act of punishment for his family, as it is about Chris discovering true freedom and metaphysical spirituality. It is this idea of ‘telling the world’ of his family’s misdeeds that continually motivates Chris to continue on with his journey, which is depicted by Penn through the countless solo enactments and impersonation of both Chris’ mother and father, often depicting a negative experience which has quite evidently scarred his ‘crystal like’ mind. Family is thus, a primary motivation for both key characters within Tracks and Into the Wild to firstly partake on their journey, but more significantly to discover an uncorrupted, unbiased ‘true’ version of them that had been lost amidst ‘this world of material excess’.

Conclusion: Both Tracks and Into the Wild explore the inextricable link between ones environment and their personal growth. Nature is emphasised as a world removed from the materialistic excess of modern urban life, in which one can engage with an alternative, radical set of values. Both Davidson and McCandless escape from the confinements of their lives and experience profound transformations over the course of their journeys. Thus, both Davidson and Penn comment on the omniscient, multifaceted nature of the environment around a person being instrumental in moulding each stage of the journey of self-discovery and transformation.

*A big shout out to Suraj Hari, 2017 graduate and currently studying Medicine in Tasmania, who is a contributing author of this blog post.

The following blog post (updated 02/10/2020), is a mix of the video transcription, along with some new pieces of advice and tips. Happy learning!

[Video Transcription]

Hey guys. Welcome back to Lisa's Study Guides. Right now, it's in the middle of December, and I know that most of you should have finished school by now, and you're enjoying your school holidays. Because it is summer holidays, and most people aren't really studying right now, this is for the truly keen beans, the people who are reading the text before the school starts, which, by the way, you should be doing. I'll pop that video in a card up above and so if you are studying Burial Rites, then this video is for you. If you're not, as always, it doesn't really matter because the type of advice that I will be giving would definitely be relevant to any text, because it's more about your thinking and how you actually go around approaching essay topics. ‍

‍ Burial Rites is about this girl called Agnes, and she is the last person in Iceland to be sentenced to the life sentence. This book covers the last few months of her life, living with these people who she's sharing her story with. She has been sentenced because she has murdered Natan. And although we first initially hear that she has murdered this guy, when we start to hear her story develop, that's when we start to see that there are shades of gray. That she did have reason behind what she did, and you can start to feel quite sympathetic towards her. At the same time, though, and this is what today's essay question will be about. There's a lot to do with the patriarchy. Agnes being not just a woman, but an intelligent woman, was something that was looked down upon, and people were scared of that. That's just to give you a little bit of context so that we can start this essay topic. ‍

Essay Topic

‍ Today's chosen essay topic is:

Women have no power in Burial Rites, the patriarchy dominates their lives. To what extent do you agree?

‍ Step 1: Analyse

‍ The first step, as always, is we look at keywords . What are the keywords here? To me, they are women, no power, patriarchy and dominates. These words really stand out to me, and these are the words that I feel are necessary for me to focus on in order to answer this prompt properly. The second step that I do is I define keywords . So what I do here is I try to understand what the keywords mean and also their implications.

Women , is our first keyword. it's easy just to say, "Oh, women includes this character and this character." But we can start to think about more so the implications as well. So don't just think about the major characters like Agnes and Margret, but also think about the minor characters like Sigga and Rosa.
No power. So to me, no power means to lack freedom. It's not necessarily no power like you know I'm not strong and this is why we need to actually define the words because many words have multiple connotations or they have multiple meanings. So you need to figure out, "Okay, how am I going to find this word so that I've got the right focus for the rest of my essay?" This is silly, but what if you, halfway through your essay, went, "Holy crap, power could also mean electricity, and I didn't talk about electricity." So electricity is not part of Burial Rites , but it's just something to get you thinking. You know you don't just want to dive straight into the essay, assuming you know what the keyword means and what it entails. Actually spend time to define it, so that it's a lot clearer for you, too. So I've also added that no power means a lack of power compared to men. So because it is a patriarchy, the fact that they have no power is very much sort of linked to the fact that it's male-induced.
The third keyword is a patriarchy , so a male-dominated society, which means that an analysis of male characters is also required to fully understand male and female interactions. If you have an essay where you only talk about the women, then you're maybe only answering it 50%. To really add extra value to what you're saying and to really solidify your points, talk about the men because everyone influences each other one way or another.
The last thing is I would also add, ' to what extent' ? When a prompt says, "to what extent?" to me, it means that some sort of challenge is required here. It's probably not enough if I just completely agree with it because it's only suggesting that the extent does end somewhere and that you need to go beyond it.

While in this video I don't cover the brainstorm process, you can learn more by reading up on my THINK and EXECUTE strategy , which has helped thousands of students achieve better marks! ‍

Step 3: Create a Plan

‍ My third step is I plan out key arguments. So this is how I'm going to break down this essay prompt. I am going to do two body paragraphs where I agree and one body paragraph where I disagree. So this should mean that I'm only agreeing to a certain extent. Here's a video about this type of essay structure and response:

‍ Body paragraph 1:

So my first body paragraph is yes, under male authority, the women are robbed of freedom and power. My example for that would be Agnes, who is the protagonist. She is a woman who's being sentenced to death for murdering Natan, more about him later, and, as a result, society condemns her and she's robbed of her identity and freedom. "Everything I said was altered until the story wasn't my own." The metaphor of a story represents her being stripped of her experiences and identity, and instead replaced with how others think of her, whore, madwoman and murderess. ‍

Body paragraph 2:

My second body paragraph would be another agreement, but this time I'm going to focus on the men. In this second body paragraph, my argument is men hold exploitative power over women. One, Natan, the person who was murdered, toys with all his whores, demonstrating male dominance in 1820s Iceland. All his workmaids are stranded, shipwrecked with nowhere else to go, highlighting women's hopelessness in changing their situation. Additionally, there's Blondal. So Blondal is a government authority and he's torn when commanding Lauga, Lauga, not too sure how to say that. You guys let me know. "I'm sure you would not question me," which is also another example of women's subordinate status.

Body paragraph 3:

The third one is one where I disagree. Here will be that there are rare instances of female empowerment in the novel. The first one will be Rosa, the poet. So Rosa has an affair with Natan, but Kent praises Rosa and she's described to be a wonderful woman and beautiful. Rosa transcends patriarchal structures, as she is assertive, headstrong, going against social codes in an act of female empowerment. The second one will be Agnes. Her storytelling and ability to express what she is inside allows her to gain a voice in the patriarchal world that has silenced her. Through her storytelling, she asserts her self-worth and dignity and despite the fact that she has been locked down, she is being treated like crap by the men, her ability to hold herself strong and to be able to face her death with dignity means that with some sense, at least from within, that sense of empowerment has not been completely diminished.

If you found this blog and video helpful, and would like to see Burial Rites essay writing in action, then I recommend you check out How To Write A Killer Text Response below!

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Insight: Engage

Writing a comparative essay.

This week, Insight writer and English teacher Melanie Flower outlines steps you can take to write your best comparative essay.

The comparative essay is still a relatively new element of VCE English, only becoming part of the Study Design in 2016. However, while the Area of Study is new, your essay should still have a clear and largely familiar structure, with an introduction, body and conclusion. Last year every topic in Section B of the VCE English examination included the word ‘compare’, and it is essential to note that the comparison of texts is the central requirement for this response, even if the word does not explicitly appear in the topic.

The comparative essay can be tackled in a variety of ways, and it is worth experimenting with different approaches throughout the semester to find the one that suits your strengths.

Read the topic carefully

Make sure that you understand exactly what the topic is asking you to do. The topic might invite a broad thematic comparison, which requires a thoughtful understanding of the ways a particular theme is explored in both texts. Other topics focus on an aspect of the texts’ construction, such as characterisation or setting, and require you to show an understanding of the texts’ form and genre.

You could also encounter a topic that contains one or two quotes. This type of topic necessitates a very thorough knowledge of your texts, as you need to recognise the context of each quote, identify the key ideas being addressed in each, and understand how these ideas are explored in both texts.

Give roughly equal weight to each text

Each text pairing has been carefully chosen to offer points of comparison, in terms of both similarities and differences. While you may have a preference for one text over the other, it is essential that you do not allow this to limit the scope of your discussion. One easy way to make sure that you are addressing both texts equally is to balance every point, example or quote from one text with an equivalent from the other. This can be done in the planning stages, giving you a wealth of material to use in your essay.

Choose your preferred structure

The broad structure of a comparative essay is already very familiar to you, and consists of an introduction, several body paragraphs and a conclusion. The introduction should include a clear contention that alerts the reader to your response to the topic, as well as the main ideas your essay will explore. It must contain references to both texts. Similarly, your conclusion should summarise the points you have made and leave the reader with a clear understanding of your position on the topic. These elements are common to all analytical text response essays. The difference in a comparative response is in the way the body paragraphs are structured and organised. You essentially have two basic options for the body: the block approach or the woven approach.

The block approach: This approach involves devoting a paragraph or two to each text, examining the ways each of them address the ideas raised by the topic. The final body paragraphs pull this material together and discuss the similarities and differences between the texts’ approach to the central ideas explored in the essay. This structure appears straightforward, but it can be challenging to maintain a strong connection between the texts when discussing them in isolation. A careful use of linking words is essential to ensure that the essay is cohesive and the comparison of texts remains at the fore.
The woven approach: Using a more sophisticated structure, the woven essay draws evidence from both texts within each body paragraph. Topic sentences focus on an aspect of the ideas raised by the topic rather than on individual texts or characters, leaving you free to explore material from both sources in the paragraph. It can be challenging to move between two texts, although with practice, this will become easier. One useful strategy is to begin your discussion of a particular idea with a sentence addressing text 1. Then start the next sentence with a linking word or phrase that leads to a statement about text 2’s perspective on the same idea. A third sentence links both texts, adding an overall position statement. This approach allows you to move smoothly between the texts while also engaging in deep analysis of their ideas.

Focus on differences as well as similarities

We tend to be very alert to similarities between texts, which are usually relatively simple to identify; however, often the most interesting discussion will devolve from a consideration of the differences. These provide an opportunity to explore contrasting situations and points of view, thus demonstrating your engagement with both the texts and the ideas they present.

Use linking words and phrases

When moving the discussion between texts, regardless of the overall essay structure you have chosen, use appropriate linking words and phrases to maintain fluency and cohesion. These links help your reader to understand the connection between the ideas you are discussing, whether they are similarities or contrasts.

Phrases that you can use to discuss similarities include:

similarly, likewise, in the same way, also, along similar lines, in the same fashion .

Phrases useful for indicating contrast include:

in contrast, on the other hand, unlike (text 1), regardless, however, conversely, on the contrary, nevertheless .

Used purposefully, these words and phrases help guide your reader through your discussion, ensuring that they understand the relationship between the texts and the ideas explored in your response.

Explore a range of elements

To add depth to your response, consider a variety of textual elements in your discussion. While the topic may prompt you to focus on character or theme, your response will have more depth if you are able to draw other aspects of the texts into your discussion. You could note the impact of the narrative voice, reflect on how structure shapes a reader’s responses, consider the influence of genre on the texts’ construction, or acknowledge differences in style or authorial purpose. All of these elements provide you with opportunities to consider the texts as constructs, leading to a more complex and sophisticated analysis.

_____________

The comparative essay is a challenging, but ultimately satisfying, opportunity to explore intertextual connections. By considering the different perspectives offered by carefully paired texts, you can enrich your understanding of both texts and draw new meanings from them. Ultimately, the best way to find an essay style that works for you is to experiment. Try a few different approaches, note the feedback you receive from your teacher, and use this to finetune your approach. Remember that examiners are not looking for a single, standard essay format. They are interested in your ideas and your genuine responses to the texts, and whichever structure best allows you to present these is the most appropriate structure for you.

Need help with your comparative essays? Insight has two Insight Sample Essays for each List 2 text comparison for English. Each high-level essay features annotations with assessor comments identifying the elements of the essay that work and areas for improvement, as well as tips on how to approach the essay topic and appropriate strategies for analysis.

Insight Sample Essays are produced by Insight Publications, an independent Australian educational publisher.

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Comparative Analysis

What It Is and Why It's Useful

Comparative analysis asks writers to make an argument about the relationship between two or more texts. Beyond that, there's a lot of variation, but three overarching kinds of comparative analysis stand out:

Coordinate (A ↔ B): In this kind of analysis, two (or more) texts are being read against each other in terms of a shared element, e.g., a memoir and a novel, both by Jesmyn Ward; two sets of data for the same experiment; a few op-ed responses to the same event; two YA books written in Chicago in the 2000s; a film adaption of a play; etc.
Subordinate (A → B) or (B → A ): Using a theoretical text (as a "lens") to explain a case study or work of art (e.g., how Anthony Jack's The Privileged Poor can help explain divergent experiences among students at elite four-year private colleges who are coming from similar socio-economic backgrounds) or using a work of art or case study (i.e., as a "test" of) a theory's usefulness or limitations (e.g., using coverage of recent incidents of gun violence or legislation un the U.S. to confirm or question the currency of Carol Anderson's The Second ).
Hybrid [A → (B ↔ C)] or [(B ↔ C) → A] , i.e., using coordinate and subordinate analysis together. For example, using Jack to compare or contrast the experiences of students at elite four-year institutions with students at state universities and/or community colleges; or looking at gun culture in other countries and/or other timeframes to contextualize or generalize Anderson's main points about the role of the Second Amendment in U.S. history.

"In the wild," these three kinds of comparative analysis represent increasingly complex—and scholarly—modes of comparison. Students can of course compare two poems in terms of imagery or two data sets in terms of methods, but in each case the analysis will eventually be richer if the students have had a chance to encounter other people's ideas about how imagery or methods work. At that point, we're getting into a hybrid kind of reading (or even into research essays), especially if we start introducing different approaches to imagery or methods that are themselves being compared along with a couple (or few) poems or data sets.

Why It's Useful

In the context of a particular course, each kind of comparative analysis has its place and can be a useful step up from single-source analysis. Intellectually, comparative analysis helps overcome the "n of 1" problem that can face single-source analysis. That is, a writer drawing broad conclusions about the influence of the Iranian New Wave based on one film is relying entirely—and almost certainly too much—on that film to support those findings. In the context of even just one more film, though, the analysis is suddenly more likely to arrive at one of the best features of any comparative approach: both films will be more richly experienced than they would have been in isolation, and the themes or questions in terms of which they're being explored (here the general question of the influence of the Iranian New Wave) will arrive at conclusions that are less at-risk of oversimplification.

For scholars working in comparative fields or through comparative approaches, these features of comparative analysis animate their work. To borrow from a stock example in Western epistemology, our concept of "green" isn't based on a single encounter with something we intuit or are told is "green." Not at all. Our concept of "green" is derived from a complex set of experiences of what others say is green or what's labeled green or what seems to be something that's neither blue nor yellow but kind of both, etc. Comparative analysis essays offer us the chance to engage with that process—even if only enough to help us see where a more in-depth exploration with a higher and/or more diverse "n" might lead—and in that sense, from the standpoint of the subject matter students are exploring through writing as well the complexity of the genre of writing they're using to explore it—comparative analysis forms a bridge of sorts between single-source analysis and research essays.

Typical learning objectives for single-sources essays: formulate analytical questions and an arguable thesis, establish stakes of an argument, summarize sources accurately, choose evidence effectively, analyze evidence effectively, define key terms, organize argument logically, acknowledge and respond to counterargument, cite sources properly, and present ideas in clear prose.

Common types of comparative analysis essays and related types: two works in the same genre, two works from the same period (but in different places or in different cultures), a work adapted into a different genre or medium, two theories treating the same topic; a theory and a case study or other object, etc.

How to Teach It: Framing + Practice

Framing multi-source writing assignments (comparative analysis, research essays, multi-modal projects) is likely to overlap a great deal with "Why It's Useful" (see above), because the range of reasons why we might use these kinds of writing in academic or non-academic settings is itself the reason why they so often appear later in courses. In many courses, they're the best vehicles for exploring the complex questions that arise once we've been introduced to the course's main themes, core content, leading protagonists, and central debates.

For comparative analysis in particular, it's helpful to frame assignment's process and how it will help students successfully navigate the challenges and pitfalls presented by the genre. Ideally, this will mean students have time to identify what each text seems to be doing, take note of apparent points of connection between different texts, and start to imagine how those points of connection (or the absence thereof)

complicates or upends their own expectations or assumptions about the texts
complicates or refutes the expectations or assumptions about the texts presented by a scholar
confirms and/or nuances expectations and assumptions they themselves hold or scholars have presented
presents entirely unforeseen ways of understanding the texts

—and all with implications for the texts themselves or for the axes along which the comparative analysis took place. If students know that this is where their ideas will be heading, they'll be ready to develop those ideas and engage with the challenges that comparative analysis presents in terms of structure (See "Tips" and "Common Pitfalls" below for more on these elements of framing).

Like single-source analyses, comparative essays have several moving parts, and giving students practice here means adapting the sample sequence laid out at the " Formative Writing Assignments " page. Three areas that have already been mentioned above are worth noting:

Gathering evidence : Depending on what your assignment is asking students to compare (or in terms of what), students will benefit greatly from structured opportunities to create inventories or data sets of the motifs, examples, trajectories, etc., shared (or not shared) by the texts they'll be comparing. See the sample exercises below for a basic example of what this might look like.
Why it Matters: Moving beyond "x is like y but also different" or even "x is more like y than we might think at first" is what moves an essay from being "compare/contrast" to being a comparative analysis . It's also a move that can be hard to make and that will often evolve over the course of an assignment. A great way to get feedback from students about where they're at on this front? Ask them to start considering early on why their argument "matters" to different kinds of imagined audiences (while they're just gathering evidence) and again as they develop their thesis and again as they're drafting their essays. ( Cover letters , for example, are a great place to ask writers to imagine how a reader might be affected by reading an their argument.)
Structure: Having two texts on stage at the same time can suddenly feel a lot more complicated for any writer who's used to having just one at a time. Giving students a sense of what the most common patterns (AAA / BBB, ABABAB, etc.) are likely to be can help them imagine, even if provisionally, how their argument might unfold over a series of pages. See "Tips" and "Common Pitfalls" below for more information on this front.

Sample Exercises and Links to Other Resources

Common Pitfalls
Advice on Timing
Try to keep students from thinking of a proposed thesis as a commitment. Instead, help them see it as more of a hypothesis that has emerged out of readings and discussion and analytical questions and that they'll now test through an experiment, namely, writing their essay. When students see writing as part of the process of inquiry—rather than just the result—and when that process is committed to acknowledging and adapting itself to evidence, it makes writing assignments more scientific, more ethical, and more authentic.
Have students create an inventory of touch points between the two texts early in the process.
Ask students to make the case—early on and at points throughout the process—for the significance of the claim they're making about the relationship between the texts they're comparing.
For coordinate kinds of comparative analysis, a common pitfall is tied to thesis and evidence. Basically, it's a thesis that tells the reader that there are "similarities and differences" between two texts, without telling the reader why it matters that these two texts have or don't have these particular features in common. This kind of thesis is stuck at the level of description or positivism, and it's not uncommon when a writer is grappling with the complexity that can in fact accompany the "taking inventory" stage of comparative analysis. The solution is to make the "taking inventory" stage part of the process of the assignment. When this stage comes before students have formulated a thesis, that formulation is then able to emerge out of a comparative data set, rather than the data set emerging in terms of their thesis (which can lead to confirmation bias, or frequency illusion, or—just for the sake of streamlining the process of gathering evidence—cherry picking).
For subordinate kinds of comparative analysis , a common pitfall is tied to how much weight is given to each source. Having students apply a theory (in a "lens" essay) or weigh the pros and cons of a theory against case studies (in a "test a theory") essay can be a great way to help them explore the assumptions, implications, and real-world usefulness of theoretical approaches. The pitfall of these approaches is that they can quickly lead to the same biases we saw here above. Making sure that students know they should engage with counterevidence and counterargument, and that "lens" / "test a theory" approaches often balance each other out in any real-world application of theory is a good way to get out in front of this pitfall.
For any kind of comparative analysis, a common pitfall is structure. Every comparative analysis asks writers to move back and forth between texts, and that can pose a number of challenges, including: what pattern the back and forth should follow and how to use transitions and other signposting to make sure readers can follow the overarching argument as the back and forth is taking place. Here's some advice from an experienced writing instructor to students about how to think about these considerations:

a quick note on STRUCTURE

Most of us have encountered the question of whether to adopt what we might term the “A→A→A→B→B→B” structure or the “A→B→A→B→A→B” structure. Do we make all of our points about text A before moving on to text B? Or do we go back and forth between A and B as the essay proceeds? As always, the answers to our questions about structure depend on our goals in the essay as a whole. In a “similarities in spite of differences” essay, for instance, readers will need to encounter the differences between A and B before we offer them the similarities (A d →B d →A s →B s ). If, rather than subordinating differences to similarities you are subordinating text A to text B (using A as a point of comparison that reveals B’s originality, say), you may be well served by the “A→A→A→B→B→B” structure.

Ultimately, you need to ask yourself how many “A→B” moves you have in you. Is each one identical? If so, you may wish to make the transition from A to B only once (“A→A→A→B→B→B”), because if each “A→B” move is identical, the “A→B→A→B→A→B” structure will appear to involve nothing more than directionless oscillation and repetition. If each is increasingly complex, however—if each AB pair yields a new and progressively more complex idea about your subject—you may be well served by the “A→B→A→B→A→B” structure, because in this case it will be visible to readers as a progressively developing argument.

As we discussed in "Advice on Timing" at the page on single-source analysis, that timeline itself roughly follows the "Sample Sequence of Formative Assignments for a 'Typical' Essay" outlined under " Formative Writing Assignments, " and it spans about 5–6 steps or 2–4 weeks.

Comparative analysis assignments have a lot of the same DNA as single-source essays, but they potentially bring more reading into play and ask students to engage in more complicated acts of analysis and synthesis during the drafting stages. With that in mind, closer to 4 weeks is probably a good baseline for many single-source analysis assignments. For sections that meet once per week, the timeline will either probably need to expand—ideally—a little past the 4-week side of things, or some of the steps will need to be combined or done asynchronously.

What It Can Build Up To

Comparative analyses can build up to other kinds of writing in a number of ways. For example:

They can build toward other kinds of comparative analysis, e.g., student can be asked to choose an additional source to complicate their conclusions from a previous analysis, or they can be asked to revisit an analysis using a different axis of comparison, such as race instead of class. (These approaches are akin to moving from a coordinate or subordinate analysis to more of a hybrid approach.)
They can scaffold up to research essays, which in many instances are an extension of a "hybrid comparative analysis."
Like single-source analysis, in a course where students will take a "deep dive" into a source or topic for their capstone, they can allow students to "try on" a theoretical approach or genre or time period to see if it's indeed something they want to research more fully.
DIY Guides for Analytical Writing Assignments

For Teaching Fellows & Teaching Assistants

Types of Assignments
Unpacking the Elements of Writing Prompts
Formative Writing Assignments
Single-Source Analysis
Research Essays
Multi-Modal or Creative Projects
Giving Feedback to Students

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Linking Phrases

To say the texts are similar:

In the same way / In much the same way
In ______, we also see ___________
These characters react in the same way, both __________ because _____
These characters react similarly but for completely different reasons….
Both texts reveal that __________
This is also obvious in ________ when _______, just like ____ decides __________
We also see this in ________
Likewise, in __________
This is mirrored in _________
The two texts share a similarity in that __________

To point out differences

By contrast, in _________
In a different way ________
The opposite is seen in _________
Unlike _________
A completely different situation is clear in _________
In direct contrast to this, in _________, _________
The reverse is true in ________
Nothing like this is evident in _________ because they don’t value _______
These two texts could not be more different, particularly in thier outlook on _________
This is very different to ___________
This is somewhat different to _______

Here’s another list of linking phrases: http://jamietuohy.com/2012/04/12/essential-words-for-the-comparative-question-jamie-tuohy/

3 responses to “ Linking Phrases ”

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English Grammar

Comparative and superlative adjectives

Level: beginner

Comparative adjectives

We use comparative adjectives to show change or make comparisons:

This car is certainly better , but it's much more expensive . I'm feeling happier now. We need a bigger garden.

We use than when we want to compare one thing with another :

She is two years older than me. New York is much bigger than Boston. He is a better player than Ronaldo. France is a bigger country than Britain.

When we want to describe how something or someone changes we can use two comparatives with and :

The balloon got bigger and bigger . Everything is getting more and more expensive . Grandfather is looking older and older .

We often use the with comparative adjectives to show that one thing depends on another :

The faster you drive, the more dangerous it is. (= When you drive faster, it is more dangerous.) The higher they climbed, the colder it got. (= When they climbed higher, it got colder.)

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Superlative adjectives

We use the with superlative adjectives :

It was the happiest day of my life. Everest is the highest mountain in the world. That’s the best film I have seen this year. I have three sisters: Jan is the oldest and Angela is the youngest .

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How to form comparative and superlative adjectives.

We usually add –er and –est to one-syllable words to make comparatives and superlatives:

If an adjective ends in –e , we add –r or –st :

If an adjective ends in a vowel and a consonant , we double the consonant:

If an adjective ends in a consonant and –y , we change –y to –i and add –er or –est :

We use more and most to make comparatives and superlatives for most two syllable adjectives and for all adjectives with three or more syllables:

However, with these common two-syllable adjectives , you can either add –er / –r and –est / –st or use more and most :

He is certainly handsomer than his brother. His brother is handsome, but he is more handsome . She is one of the politest people I have ever met. She is the most polite person I have ever met.

The adjectives good , bad and far have irregular comparatives and superlatives:

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Could you check this sentence for me please? The maintenance cost of electric buses are lower than diesel buses.

Hello Khangvo2812,

You can say 'The maintenance cost... is' or 'The maintenance costs... are'. Other than that, the sentence is fine.

Please note that we generally don't just check sentences. The site focuses on explaining usage and rules rather than proof-reading.

The LearnEnglish Team

Is 'more naughty than' correct?

Hello Paulinecwy,

Yes it is. Naughty is one of those adjectives where more than one form is possible: more naughty and naughtier .

Hello, Could you check this sentence for me pls? Vietnamese national football team is the strongest team among Asean countries.

Hi Khangvo2812,

It's good but a correction is needed: either add "the" ( The Vietnamese national football team ... ) or change the first word: Vietnam's national football team ...

I hope that helps.

LearnEnglish team

These exercises were helpful for me, I didn't find them so difficult

Hi sir, I'm grateful for this lesson, actually it was interesting and useful to me, thanks!

I hope this message finds you well. I wanted to reach out to express my satisfaction with the exercises that were assigned. I am pleased to inform you that I have successfully completed them and found them to be incredibly comprehensive and beneficial. They have provided me with valuable opportunities to apply and reinforce the concepts explained in our sessions.

Hello Emiliano,

We're very pleased to hear that you found the explanation and exercises useful!

Thanks for letting us know.

Best wishes, Kirk LearnEnglish team

I wanted to express my gratitude for the exercises you assigned. I have completed them and found them to be incredibly helpful in reinforcing the concepts we discussed. They provided me with a valuable learning experience and I feel more equipped as a result.

Thank you for offering such comprehensive exercises that allowed me to put theory into practice. The knowledge gained from these exercises will undoubtedly benefit me in the future.

Example: México is the best country of the world

For example: México is better than Venezuela

Hello, Sir I have already done the exercises and I find them very complete and very helpful to put into practice what is explained. I take with me a great experience and a new learning experience.

If we learnt that adjectives ending in a CVC pattern must be doubled the last consonant and then added with -er, why isn't "slowwer" or "newwer" correct?

Hi thatha.,

It's because although these adjectives end in "w" (a consonant), the "w" is actually part of the vowel sound ("ow" in "slow", and "ew" in "new").

Thaks yo this page, the subject became clearer to me, with the excercises what I new was reinforced.

I am trying to figure out why, in an English sentence, if there are multiple adjectives used for one noun, and one of those adjectives is superlative, it seems that all of them must be superlative.

For example, my student wrote the following: I bought the three large freshest looking cabbages to make Korean Kimchi.

I couldn't explain why that was incorrect, I just knew that I would say 'three of the largest, freshest-looking cabbages...'.

Could one of you provide an explanation? Thanks in advance!

I'm not sure if there's a grammatical explanation for this! It might be more about the conventional ideas that we tend to express. The student is saying that there were only three large cabbages in the shop, and they were also the freshest-looking ones, but this might be a bit unclear for listeners/readers to understand and your suggestion sounds clearer and more natural.

Good day, dear experts! Please, help me to understand why there is "elder" in the name of the game "The Elder Scrolls" when we know that the comparative of "old" is "older". Is there a mistake in this name? Thank you in advance!

Hello Iryna_hn,

I don't know much about this game, but I suspect 'elder' refers to an important or respected person in a group rather than being a comparative form of 'old'. Have a look at the Longman entry for 'elder' and scroll down to line 2 of the second meaning and you'll see what I mean.

All the best, Kirk LearnEnglish team

Hello! Can I ask you a question? So, I know that we can use the definite article with comparative adjectives for showing that one thing depends on another as it's written in this website too. But, what about this sentence "the farther side of the mountain"? What's the explanation for it since there are no things depending one another in that sentence? Maybe when we have an implied comparison we can use the definite article too? Thank you in advance. :)

Hello leo15722,

I don't think this is a question of two things being related in the way described above. I think this is simply an identified and specific item. Just as we would say 'the side of the mountain' (we know which side of which mountain we are talking about), so we say 'the farther side of the mountain'. You could use other articles if you conceive other contexts:

a farther side of the mountain > we know which mountain; it has several farther sides and we are talking about one of them but not saying which one. For example: " This side looks easy to climb. Now I don't know the mountain well, but I've heard that there's a farther side of the mountain which is harder to climb. "

the farther side of a mountain > we are imagining that there are only two sides (rather like we say 'the dark side of the moon') and are talking about any mountain. For example: " The farther side of a mountain is always tempting to a mountaineer. "

Could you please clarify the following:

Should we always use "the" with superlatives forms? Is it a mistake to say "She is most beautiful woman in this city", "He is smartest boy in the class?" or "They bought most delicious cake"?

I'm very very grateful for the work you are doing, thank you for your important help, and thank you for answering this post beforehand!!!

Hello howtosay_

Yes, you should always use 'the' with superlative forms. It is definitely necessary when there is a phrase like 'in this city', 'in the class', 'in the world, etc.

Your sentence about cake isn't actually a superlative construction. Instead, 'most' means 'very'.

It's also possible to see a sentence like 'They bought the most delicious cake'. There might be some rare exceptions, but normally a sentence like this is superlative because of the context. For example, perhaps in the previous sentences they were talking about all the different cakes in a bakery. So even though the sentence doesn't explicitly mention the other cakes, it's clear from context that there are many cakes.

Hope this helps.

Hello, Kirk!

Yes, it does help. I haven't known before that "most" also means "very".

Thank you very much indeed for your precious help!!!

Hello. Good morning sir/ma'am. This question has been bugging me lately.. Which one is correct? 1.he's the cleverest of *all the other* students. 2.he's the cleverest of *the other students* Or are they both correct??

Hello AydaChan2003,

They're both OK, though I think people would probably say 1 more often than 2.

All the best, Kirk The LearnEnglish Team

Hello, Kirk Thanks a lot!! You're a life saver

Both are grammatically correct and any difference would depend on the context in which they are used.

Peter The LearnEnglish Team

Hello sir! Could you please elaborate on what types of context? Also I have a vocabulary question.. I'm fairly new here and I don't know whether there's a separate page for asking vocabulary questions; is there really one? If there's not, then I might as well ask it here (sorry I know this isn't related to the subject but I got to know this) what's the difference between deadly, lethal, and fatal?

It's really a question of emphasis. 'All' adds rhetorical emphasis so if you want to make your statement stronger (e.g. when making a speech or trying to persuade someone of something) then it might be useful.

The main difference in the words is that fatal means someone died. Deadly and lethal can also describe potential - in other words they can also describe something is extremely dangerous. Thus, I could say 'It was a truly deadly situation and I was lucky to escape alive' but I could not use the word 'fatal' there.

There are some other differences in use, so you can talk about a deadly/lethal poison, for example, or use the words metaphorically to mean that someone is very good at performing a task: a footballer can be lethal in front of goal, or a lawyer can be deadly during cross-examination.

For differences like this, which are really about use rather than meaning, the best thing is to look each word up in an online dictionary, where you'll be able to compare the different entries.

Hello sir! Oh my God that was the BEST explanation I've ever seen; thanks a lot!!! I had looked up their differences before but still couldn't distinguish each separately but now with your awesome explanation, I can! Once again, thanks a lot! May God bless you 🙏

Hi Jonathan Fewer and smaller are comparative (forms)of inferiority ,aren't they?

Hi cooler48,

Yes, right!

Hello Team . The sentences He can run faster than me . or He can run faster than I . Which is the correct usage?

I can run faster than he or I can run faster than him . Which is the correct usage? Kindly guide. Thanks.

Hello paddyjosy,

The standard use is 'me' and 'him'. After 'than' we use an object pronoun not a subject pronoun.

You may find some instances where some users prefer 'I' as they interpret the sentence to be 'He can run faster than I can run', but this is very much a minority view.

Thank you Peter .

Hello paddyjosy, (than) actually considered as a proposition in modern English. As a result, we use after than a pronoun in object form (for example: me, you, him, her, us, them, and whom)

Hi . This is regarding the use of the adjective' late 'in the comparative and superlative degrees. Some sources have mentioned it as later and latest (time)or latter and last (position). Can u kindly explain it with example sentences. Thanks.

'Later' refers to time. It is often used as an adverb: See you later!

When used as an adjective it is the opposite of 'earlier': Do you want to go to the earlier performance or the later one?

'Latest' means the most recent: Have you heard the latest news? / I just bought her latest novel. It's great!

As you say, 'latter' is most often used to refer to the second item when two are mentioned. Its opposite is 'former': Would you prefer tea or coffee? > The latter, please.

'Latter' can also refer to the something occurring nearer to the end of something than the beginning: The latter part of the century was more stable / In his latter years he suffered from heart disease.

Thanks a lot Peter. It was helpful. But is there a comparative and superlative degree for the adjective 'late'?

Hello again paddyjosy,

The comparative and superlative forms of 'late' are later and latest .

'Latter' does not have comparative or superlative forms. There is an adverb ( latterly ) which is a formal synonym for recently .

Thanks once again for the prompt reply Peter. It's really confusing though that 'later' means afterwards and 'latest' means the most recent ,hence a change in meaning all together.

Hello Peter Is this usage correct ? No other programme is as late as ours. Our performance is later than all other programmes . Other programmes are the latest.

Yes, the use of the different forms of 'late' are all correct in these sentences. I might suggest 'The latest programmes are other ones' for the last sentence because 'latest' meaning 'most recent' is more common than the meaning that refers to time, but your sentence would be fine in context and in any case is grammatically correct.

Thanks for the explanation.Indeed a wonderful resoirce for grammar . Keep up.the good work.

Hello. In this sentence "Lisa is the........of the two sisters" the choices were "1.young 2.more young 3.as young as 4.younger" So I believe there's no correct answer of them because that's a superlative case not comparative as the "two sisters" is the whole group therefore "Lisa" isn't compared with the other sister but preferred over the whole group "the other sister" and the usage of "the" before the adjective and "of" after it means it's superlative and a colleague of mine think it's just comparative because they are only "two sisters" so my question is "Is it acceptable to use the preposition 'of' after the comparative form of adjective?". Thanks in advance.

Hi Roman...

Yes, you could say "Lisa is the youngest of the two sisters". However, it may be considered non-standard and incorrect. A more standard answer would be to say "Lisa is the younger of the two sisters". As there are only two sisters and one is compared with the other, it is a comparative case. Yes, it is fine to use "the + comparative adj. + of" if there are exactly two things being compared.

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40 Useful Words and Phrases for Top-Notch Essays

To be truly brilliant, an essay needs to utilise the right language. You could make a great point, but if it’s not intelligently articulated, you almost needn’t have bothered.

Developing the language skills to build an argument and to write persuasively is crucial if you’re to write outstanding essays every time. In this article, we’re going to equip you with the words and phrases you need to write a top-notch essay, along with examples of how to utilise them.

It’s by no means an exhaustive list, and there will often be other ways of using the words and phrases we describe that we won’t have room to include, but there should be more than enough below to help you make an instant improvement to your essay-writing skills.

If you’re interested in developing your language and persuasive skills, Oxford Royale offers summer courses at its Oxford Summer School , Cambridge Summer School , London Summer School , San Francisco Summer School and Yale Summer School . You can study courses to learn english , prepare for careers in law , medicine , business , engineering and leadership.

General explaining

Let’s start by looking at language for general explanations of complex points.

1. In order to

Usage: “In order to” can be used to introduce an explanation for the purpose of an argument. Example: “In order to understand X, we need first to understand Y.”

2. In other words

Usage: Use “in other words” when you want to express something in a different way (more simply), to make it easier to understand, or to emphasise or expand on a point. Example: “Frogs are amphibians. In other words, they live on the land and in the water.”

3. To put it another way

Usage: This phrase is another way of saying “in other words”, and can be used in particularly complex points, when you feel that an alternative way of wording a problem may help the reader achieve a better understanding of its significance. Example: “Plants rely on photosynthesis. To put it another way, they will die without the sun.”

4. That is to say

Usage: “That is” and “that is to say” can be used to add further detail to your explanation, or to be more precise. Example: “Whales are mammals. That is to say, they must breathe air.”

5. To that end

Usage: Use “to that end” or “to this end” in a similar way to “in order to” or “so”. Example: “Zoologists have long sought to understand how animals communicate with each other. To that end, a new study has been launched that looks at elephant sounds and their possible meanings.”

Adding additional information to support a point

Students often make the mistake of using synonyms of “and” each time they want to add further information in support of a point they’re making, or to build an argument . Here are some cleverer ways of doing this.

6. Moreover

Usage: Employ “moreover” at the start of a sentence to add extra information in support of a point you’re making. Example: “Moreover, the results of a recent piece of research provide compelling evidence in support of…”

7. Furthermore

Usage:This is also generally used at the start of a sentence, to add extra information. Example: “Furthermore, there is evidence to suggest that…”

8. What’s more

Usage: This is used in the same way as “moreover” and “furthermore”. Example: “What’s more, this isn’t the only evidence that supports this hypothesis.”

9. Likewise

Usage: Use “likewise” when you want to talk about something that agrees with what you’ve just mentioned. Example: “Scholar A believes X. Likewise, Scholar B argues compellingly in favour of this point of view.”

10. Similarly

Usage: Use “similarly” in the same way as “likewise”. Example: “Audiences at the time reacted with shock to Beethoven’s new work, because it was very different to what they were used to. Similarly, we have a tendency to react with surprise to the unfamiliar.”

11. Another key thing to remember

Usage: Use the phrase “another key point to remember” or “another key fact to remember” to introduce additional facts without using the word “also”. Example: “As a Romantic, Blake was a proponent of a closer relationship between humans and nature. Another key point to remember is that Blake was writing during the Industrial Revolution, which had a major impact on the world around him.”

12. As well as

Usage: Use “as well as” instead of “also” or “and”. Example: “Scholar A argued that this was due to X, as well as Y.”

13. Not only… but also

Usage: This wording is used to add an extra piece of information, often something that’s in some way more surprising or unexpected than the first piece of information. Example: “Not only did Edmund Hillary have the honour of being the first to reach the summit of Everest, but he was also appointed Knight Commander of the Order of the British Empire.”

14. Coupled with

Usage: Used when considering two or more arguments at a time. Example: “Coupled with the literary evidence, the statistics paint a compelling view of…”

15. Firstly, secondly, thirdly…

Usage: This can be used to structure an argument, presenting facts clearly one after the other. Example: “There are many points in support of this view. Firstly, X. Secondly, Y. And thirdly, Z.

16. Not to mention/to say nothing of

Usage: “Not to mention” and “to say nothing of” can be used to add extra information with a bit of emphasis. Example: “The war caused unprecedented suffering to millions of people, not to mention its impact on the country’s economy.”

Words and phrases for demonstrating contrast

When you’re developing an argument, you will often need to present contrasting or opposing opinions or evidence – “it could show this, but it could also show this”, or “X says this, but Y disagrees”. This section covers words you can use instead of the “but” in these examples, to make your writing sound more intelligent and interesting.

17. However

Usage: Use “however” to introduce a point that disagrees with what you’ve just said. Example: “Scholar A thinks this. However, Scholar B reached a different conclusion.”

18. On the other hand

Usage: Usage of this phrase includes introducing a contrasting interpretation of the same piece of evidence, a different piece of evidence that suggests something else, or an opposing opinion. Example: “The historical evidence appears to suggest a clear-cut situation. On the other hand, the archaeological evidence presents a somewhat less straightforward picture of what happened that day.”

19. Having said that

Usage: Used in a similar manner to “on the other hand” or “but”. Example: “The historians are unanimous in telling us X, an agreement that suggests that this version of events must be an accurate account. Having said that, the archaeology tells a different story.”

20. By contrast/in comparison

Usage: Use “by contrast” or “in comparison” when you’re comparing and contrasting pieces of evidence. Example: “Scholar A’s opinion, then, is based on insufficient evidence. By contrast, Scholar B’s opinion seems more plausible.”

21. Then again

Usage: Use this to cast doubt on an assertion. Example: “Writer A asserts that this was the reason for what happened. Then again, it’s possible that he was being paid to say this.”

22. That said

Usage: This is used in the same way as “then again”. Example: “The evidence ostensibly appears to point to this conclusion. That said, much of the evidence is unreliable at best.”

Usage: Use this when you want to introduce a contrasting idea. Example: “Much of scholarship has focused on this evidence. Yet not everyone agrees that this is the most important aspect of the situation.”

Adding a proviso or acknowledging reservations

Sometimes, you may need to acknowledge a shortfalling in a piece of evidence, or add a proviso. Here are some ways of doing so.

24. Despite this

Usage: Use “despite this” or “in spite of this” when you want to outline a point that stands regardless of a shortfalling in the evidence. Example: “The sample size was small, but the results were important despite this.”

25. With this in mind

Usage: Use this when you want your reader to consider a point in the knowledge of something else. Example: “We’ve seen that the methods used in the 19th century study did not always live up to the rigorous standards expected in scientific research today, which makes it difficult to draw definite conclusions. With this in mind, let’s look at a more recent study to see how the results compare.”

26. Provided that

Usage: This means “on condition that”. You can also say “providing that” or just “providing” to mean the same thing. Example: “We may use this as evidence to support our argument, provided that we bear in mind the limitations of the methods used to obtain it.”

27. In view of/in light of

Usage: These phrases are used when something has shed light on something else. Example: “In light of the evidence from the 2013 study, we have a better understanding of…”

28. Nonetheless

Usage: This is similar to “despite this”. Example: “The study had its limitations, but it was nonetheless groundbreaking for its day.”

29. Nevertheless

Usage: This is the same as “nonetheless”. Example: “The study was flawed, but it was important nevertheless.”

30. Notwithstanding

Usage: This is another way of saying “nonetheless”. Example: “Notwithstanding the limitations of the methodology used, it was an important study in the development of how we view the workings of the human mind.”

Giving examples

Good essays always back up points with examples, but it’s going to get boring if you use the expression “for example” every time. Here are a couple of other ways of saying the same thing.

31. For instance

Example: “Some birds migrate to avoid harsher winter climates. Swallows, for instance, leave the UK in early winter and fly south…”

32. To give an illustration

Example: “To give an illustration of what I mean, let’s look at the case of…”

Signifying importance

When you want to demonstrate that a point is particularly important, there are several ways of highlighting it as such.

33. Significantly

Usage: Used to introduce a point that is loaded with meaning that might not be immediately apparent. Example: “Significantly, Tacitus omits to tell us the kind of gossip prevalent in Suetonius’ accounts of the same period.”

34. Notably

Usage: This can be used to mean “significantly” (as above), and it can also be used interchangeably with “in particular” (the example below demonstrates the first of these ways of using it). Example: “Actual figures are notably absent from Scholar A’s analysis.”

35. Importantly

Usage: Use “importantly” interchangeably with “significantly”. Example: “Importantly, Scholar A was being employed by X when he wrote this work, and was presumably therefore under pressure to portray the situation more favourably than he perhaps might otherwise have done.”

Summarising

You’ve almost made it to the end of the essay, but your work isn’t over yet. You need to end by wrapping up everything you’ve talked about, showing that you’ve considered the arguments on both sides and reached the most likely conclusion. Here are some words and phrases to help you.

36. In conclusion

Usage: Typically used to introduce the concluding paragraph or sentence of an essay, summarising what you’ve discussed in a broad overview. Example: “In conclusion, the evidence points almost exclusively to Argument A.”

37. Above all

Usage: Used to signify what you believe to be the most significant point, and the main takeaway from the essay. Example: “Above all, it seems pertinent to remember that…”

38. Persuasive

Usage: This is a useful word to use when summarising which argument you find most convincing. Example: “Scholar A’s point – that Constanze Mozart was motivated by financial gain – seems to me to be the most persuasive argument for her actions following Mozart’s death.”

39. Compelling

Usage: Use in the same way as “persuasive” above. Example: “The most compelling argument is presented by Scholar A.”

40. All things considered

Usage: This means “taking everything into account”. Example: “All things considered, it seems reasonable to assume that…”

How many of these words and phrases will you get into your next essay? And are any of your favourite essay terms missing from our list? Let us know in the comments below, or get in touch here to find out more about courses that can help you with your essays.

At Oxford Royale Academy, we offer a number of summer school courses for young people who are keen to improve their essay writing skills. Click here to apply for one of our courses today, including law , business , medicine and engineering .

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Compare and contrast transition words for essays, discussions and more

When you are trying to compare and contrast different things, it helps to have the right words and phrases to explain your ideas clearly. This is where compare and contrast transition words come in handy.

A transition word or phrase guides the listener or reader through what the speaker or writer is saying. We use transition words, also known as ‘ discourse markers ‘, or ‘signal words’, to help us structure what we say and make our meaning clearer.

So, let’s take a look at some common transition words for comparing and contrasting – as well as some which you may not be familiar with. We have included plenty of example sentences so you can understand how to use them correctly.

Compare and contrast transition words

Comparing and contrasting involves explaining how one thing is the same as or different to something else, and examining alternatives. You may get a compare and contrast essay assignment, for example, or you might need to write a business plan exploring different possible outcomes.

Whatever the situation, these transition words for comparing and contrasting will help you transition from one point to the next in a clear and logical way.

Transition words for comparing similarities

When you want to highlight the similarities between two things, or talk about how they are the same, these are the comparison transition words you should use.

The following signal words can be used to compare two things in the same sentence:

“Cats are as friendly as dogs.” “That cloud looks like a face.” “I look similar to my mother.”

The next group of comparing words are used after one point has been stated or mentioned, and they begin the following sentence that contains the second point:

in the same way

“The sales team need to work hard to meet their targets this month. Similarly , all warehouse staff must make an effort to despatch all orders on time.”

Find more examples of alternative words for ‘similarly’ here.

Transition words for contrast emphasis

When presenting something that contrasts with what was previously written or said, or what would be expected as a result of a previous point, we can use these contradictory transition words.

In a simple sentence when presenting the two pieces of information together, we can use:

“I’m really good at playing the guitar but I can’t play the flute.” “Alan is a great singer whereas Anna is an excellent painter.” “Spain is good for beach holidays, unlike Austria, which is good for skiing.”

To add information that contradicts or contrasts with what has previously been said in a separate sentence, we can use one of the following:

in contrast
on the contrary
On the one hand… On the other hand

Here are some sentences with discourse markers to express contrast:

“Our children’s products have performed very well this year. Conversely , sales of menswear have fallen slightly.” “It’s been sunny today; however , I think it’s going to rain tomorrow.” “I’m not sure if we should continue working with this supplier. On the one hand , they have the best pricing in the market and a good reputation. On the other hand , we have had many problems with their service recently.”

Find some more emphasis transition words here.

Transition words to signal contrast in an outcome

When talking about one thing happening in spite of another thing (in contrast to the expected outcome), we can use transition words and phrases such as:

all the same
in spite of this
nevertheless
nonetheless

“The away team fought really hard to secure a victory. Still , the home team eventually won 2:1.” “I will try to pick up some groceries on the way home. All the same , it would be nice if you had time to do the shopping this afternoon.” “It has been a very tough year for the hospitality sector. In spite of this , our restaurant has managed to turn a good profit.”

In the same situation as above, but with the two points joined in the same sentence, you can use these signal words:

in spite of
even though

“ Even though the kids hadn’t met before, they got on really well at the party.” “We managed to afford a holiday despite our financial problems.” “We had a great time at the beach, in spite of the clouds.”

Find some more transition words for ending and concluding here.

Transition words for contrasting solutions and suggestions

And finally, these signal words can be used when you’re making a suggestion or offering a solution that contrasts with another suggestion or solution:

alternatively
another option is to

“ Instead of cooking dinner tonight, why don’t we get a takeaway?” “We could hire a new staff member for this project. Alternatively we could just use a consultant on a temporary basis.”

And that concludes this list of compare and contrast transition words. If you have any other examples or are unsure how to use these compare and contrast words in a sentence, please leave a comment below.

If you found this article useful, take a look at these others which cover different categories of transition word:

Transition words for addition Transition words for cause and effect Transition words for giving examples Transition words for time order and sequence

Finally, if you have a compare and contrast essay assignment, this resource might help you structure it well and cover the topic in full.

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11 Comments

Is the word “while” one of the compare and contrast signal/transition words?

Yes, that’s another good one. ‘While’ is used in the same way as ‘whereas’ in the context of comparing and contrasting.

What about “other than”? Can it be considered a contrast and comparison word?

Good question! In some cases, yes, ‘other than’ could be used to contrast positive and negative points. For example: “Other than the broken taillight and faulty speedometer, this car is in perfect condition.”

Hi Amanda. Please help me with this.

He changed his mind about coming over even though we have prepared the meal and everything else for him.

I have a feeling the marker even though doesn’t quite work there. I’d like to emphasize the host great disappointment about the guest’s change of plan. Do you have another suggestion?

The sentence you proposed works well with ‘even though’. The only change you should make is to the tense, either:

“He changed his mind about coming over even though we had prepared the meal and everything else for him.” (reporting a past event)

“He has changed his mind about coming over even though we have prepared the meal and everything else for him.” (speaking about it as it happens).

An alternative would be to replace ‘even though’ with ‘despite the fact that’; that might hint at even stronger disappointment with the decision.

Hi Amanda, i want to ask you why ‘than’ is not part of signal words for comparison and contrast?

You’re right, this is an important word for comparing when paired with a comparative adjective.

Thank you Amanda, but i want to make sure gain that “than” is not a part of signal words in comparison and contrast, except “more than” or “less than”. Is that right?

You can use ‘than’ with any comparative adjective. For example, “Your dessert looks tastier than mine.” “This car is slower than when I bought it.” “Joshua is more intelligent than James.” I hope this helps!