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What's With Poetry?, Ch 6: Why do we create poetry?

There are many reasons why you might write poetry. Maybe it's because you saw something beautiful and you want to share that feeling with others. Or maybe something funny happened to you on your way to school and you want to remember it. You don't have to be a creative genius to write poetry and you don't have to have the ...

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Story development and plot holes with Andy Griffiths

How do you move your characters forward in a story? A trick Andy Griffiths uses is asking a lot of questions. His favourite question to ask is "what's the worst thing that can happen next?" Try asking yourself that question if you get stuck when writing your next story. In this clip Andy also talks about plot holes. What ...

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David Malouf on short story writing

Some writers can write a short story in one sitting, whereas for others – like David Malouf – it can sometimes take a bit longer to figure out where a story is going. Watch as David explains that although writing is about an "enthusiastic rush", it is also about patience.  Have you ever written a story that you didn't know ...

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Where did English come from?

This short video for students traces English from the present day back to its ancient roots, showing how English has evolved through generations of speakers

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To plan or not to plan

Different writers approach writing in different ways. Some just dive in with nothing but an idea, while others like Morris Gleitzman like to spend some time planning their story before writing. What's your writing style like? Discuss the pros and cons of both styles.

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Can We Help?: Why do we say the words the way we do?

What kinds of things might influence the way we pronounce words in English? Professor Kate Burridge explains why knowing when 'kilometre' came into English helps us to understand why it is pronounced differently from similar words such as 'kilogram' and 'centimetre'. She also explains what it means to 'barrack' for a team.

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How to Build Stories, Ch 1: What is a story?

Stories are all around us and they're happening all the time. But what exactly is a story? Stories teach and explain things, create emotion and entertain us. Watch this wonderful video and find out more.

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Sally Rippin on authors and illustrators

Watch this clip to find out about the relationship between authors and illustrators. What role does the publisher play in this relationship? What does Sally Rippin say about the role of illustrations in books for young children?

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Can We Help?: From possessive apostrophes to discombobulation!

People often worry about the use of apostrophes. See how Professor Kate Burridge answers a question about how to use the apostrophes after certain names, telling us how the rule has changed over time. She also explains the origins of the word 'discombobulate' and why the plural of house is not 'hice'.

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Can We Help?: Subjunctivitis! Fact or 'Furphy'?

Why is 'were' used in 'If I were king' and what is the subjunctive? What do water sources and gossip have in common? If you don't know then you need to watch and listen as Professor Kate Burridge and Peter Rowsthorn explore these questions.

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Rebecca Lim's advice for writers

Do you want to be a writer? Watch this clip to get some tips from author Rebecca Lim. What are some of the things she suggests? Find out about writing competitions - and enter one!

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Writing drafts with Sally Rippin

Listen as Sally Rippin describes how her reading feeds into her writing. Why does she sometimes stop reading when she's in the early stages of writing a new story? Do you write a few drafts of your stories before you get to your final version? What does Sally say about the first draft of a story?

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How to Build Stories, Ch 5: Using language to flavour your story

Language is like the flavour of a story. It helps relate your imagination to readers in a way they'll understand. But you have to add the right flavours; otherwise your story will be like a bad meal. Learn how to write what you want your readers to imagine and feel.

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Sally Rippin on sculpting stories

Watch this clip to learn where Sally Rippin finds inspiration for her writing. What does she say about where story ideas come from? Sally talks about noting down ideas in a notebook and remembering how particular experiences made her feel. What does she say about turning ideas into stories? Why not try keeping a notebook ...

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Can We Help?: Plum puddings, yelks to yolks and elfs to elves

Why are Christmas puddings called 'plum puddings' when they have no plums in them? How did the egg yolk get its name and why are the plurals for 'hoof' and 'roof' are spelt differently? Find out how Professor Kate Burridge answers these questions that the audience of 'Wise Words' send in for her.

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Why is it useful to have a big bad wolf character in stories?

Watch this clip to hear Andy Griffiths explain why it's good to have villains in stories. How can the "big bad wolf" character help to move the story along? Think about some of the stories you've read lately. Which characters were the "big bad wolf" characters and what did they add to the stories? 

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Researching with Gary Crew

When authors write stories involving historical events, they often spend time doing research. Why do you think they might do this? What are some of the primary source documents Gary Crew used to inform his book, Strange Objects?

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BTN: Meet a young author

Do you love writing stories? Learn how Hannah Chandler got a book published at the age of 12! Why don't you make your own book? Once you're happy with your story, find yourself an illustrator (a friend, family member or even yourself!) and start designing your pages. Once they're ready attach them all together. Don't forget ...

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ABC Open: Welcome to Shelly Beach, Port Lincoln

Watch and listen as local Parnkalla (Barngarla) boys Darnell and Kaiden Richards take you to their special place: Shelly Beach in Port Lincoln, South Australia. Learn some local Parnkalla words as the boys share a story about what connects their family and community to this beach.

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Hannie Rayson on writing complex roles for women

Watch as Hannie Rayson describes her early desire to write multidimensional, complex roles for women in her plays. What was this in response to?  Why is it important for audiences to see female characters as well as male characters driving drama in plays?