Relationship Between Toph and Dave Redraft - AHWOSG

How does Eggers present the relationship between him and Toph in chapters 1-5 of  AHWOSG?

Redraft 

Eggers uses imagery of protection, displays of immaturity and flashes of insecurity in order to present the dysfunctional dynamic between Toph and Dave’s younger self.

Eggers presents Dave’s feeble attempts at responsibility and protection over Toph with the symbolic imagery of painting superheroes on Toph’s bedroom wall “ for decoration and protection”. The concept of combining those nouns is childish, but the abstract noun “protection” inspires connotations of familial instincts, affection and care - a concept that might resonate with a parental reader. A younger audience might respond in a more reluctantly sentimental way, as the gaudy gesture is a rather embarrassing - thus resonating more with Toph.

This concept of guardianship is developed by Dave’s propensity for segregating Toph and himself apart from other families, as exemplified by the declarative sentence “We are orphans.As orphans, we are celebrities.”. The inclusive pronoun “we” separates Toph and Dave from the others, setting them apart in a distinct categorical way.Meanwhile, the nouns “orphans” and “celebrities” are almost oxymoronic in terms of contrasting status, which in and of itself contradicts the sentiment Dave is attempting to convey. Eggers uses this contrast in order to present Dave’s desperate attempts to portray his and Toph’s significance - he believes that their tragic circumstances elevate their status, an example of Dave’s sense of entitlement for Toph and himself. Eggers first introduced the concept Dave’s sense of entitlement for Toph and himself at the beginning of chapter 2, with the declarative “we are owed”, which gives connotations of significance and rewards with the verb “owed”, whilst again grouping Toph and himself into the inclusive pronoun “we”.

In contrast to Dave’s brazen ideas of self-importance, Eggers often presents the entropic state of their living arrangements in order to reflect the state of their dysfunctional relationship, specifically with the idea of Dave “converting Toph to [his] slovenly ways.” The lexical choice of the gerund verb “converting” brings forth concepts of manipulation and corruption whilst the adjective “slovenly” inspires connotations of lazy unkemptness and languid nonchalance. The negative connotations of this lexis might concern the reader and motivate them to see Dave as an unfit role model who is detrimental to Toph’s development.

This underlying negative perception of the way Dave parents Toph is frequent and rather alarming to the reader in some cases. For example, Dave describes a roleplay game in the second chapter entailing Dave as an abusive father and Toph as the child victim; “Our best trick, it to pretend, for the benefit of the neighbours, that I’m beating Toph with a belt.” Eggers uses the lexical phrase “best trick” to summarise Dave’s perception of the act, with the noun “trick” already giving connotations of ill-mannered schemes, and the pre-modifying adjective “best” allowing the reader to understand that Dave is clearly proud of such misconduct. The sarcastic declarative “for the benefit of the neighbours” displays Dave’s selfish disregard for others comfort at the expense of his own amusement.

Perhaps the most alarming of all is Dave’s own spiel of paranoid thoughts about Toph, ranging from the relatively mild fear of social services in response to their state of entropy to the rather disconcerting flight of fancy in chapter 5, wherein Dave describes graphic depictions of Toph’s torture and murder during his absence. During a debate with himself, Dave shows the reader his indecisive nature when faced with the uncertainty of Toph’s wellbeing; “There is no risk.But there is risk. But the risk is worth it.” The repetitive use of the conjunction “but” shows Dave’s  conflicting viewpoints, presenting Dave as ill-equipped in dealing with a dilemma concerning Toph’s safety with any stability or rationality.The reiterative use of verb “risk” inspires the feeling of a constant threat for the reader, as it is the focus for each statement. The fact that the statements are simple sentences hastens the pace, adding to the hyper vigilant back and forth of Dave’s scatterbrained thoughts and creates impact with each declarative. 

In conclusion, Eggers often presents Dave as bad role model of Toph, sometimes to the point of risking Toph’s wellbeing. Dave is manipulative in his intentions towards Toph, immature in his search of entertainment and insecure in the face of making the right decisions to Toph’s best interest. Despite this, Dave’s overprotective nature, brotherly affection and loneliness in the absence of Toph makes their dynamic, although dysfunctional, rather unconventionally charming and sentimental.Although the more rational, parental figures of the audience may be more reluctant to allow Dave’s guardianship of Toph, other, perhaps younger, members of the audience might be reluctant to see them separate. 

Women Essay

How Does Eggers Present Women in AHWOSG?

Eggers presents Dave's view of women in very distinctive categories, often valuing them based on physical or practical use rather than any personal or emotional aspects. Anyone not falling within these parameters is deemed inadequate to Dave and are often ridiculed in terms of age or appearance, and Eggers uses this to present Dave's constant dehumanisation of women and inability to perceive them as equal.

For example, Dave's apparent ageism becomes clear with his statement "by and large they're ugly - old enough to have mothered me." The collective phrase 'by and large' segregates the mothers apart from Dave, and by grouping them as such, he dehumanises the women - taking away their individuality and labelling them 'ugly', a derogative adjective that gives connotations of ghastly unattractiveness."Old enough to have mothered me" expresses the concept that age is linked with responsibility and parenthood - something Dave identifies as boring and outdated ad evidenced by the  quote "they are the old model and we are the new" when referring to the older generation whilst on the beach with Toph. The metaphor gives the connotations that, in the general scheme of things, the mothers are rapidly becoming unnecessary and replaced by Dave's generation, which he feels is superior.

In terms of appearance, Eggers presents Dave as having a particularity for perfection. He often associates stereotypically 'normal' physical standards with health and happiness, as expressed by the quote "taller than her parents, heavier than me - I want Toph to make her happy" assuming that because of her 'abnormal' height and weight she is unhappy. The comparative phrase 'heavier than me' is egocentric, as it focusses on Dave as the comparative standard, and the overall statement is offensive and degrading. This concept of perfection is further developed by the quote "Marney's breasts...are uneven. June is normal - with everything perfectly in place." The contrasting adjectives 'uneven' and 'perfect' express his strict intransigent view of body standards, which further dehumanises women, in terms of the fact that he is unforgiving in the face of anything that diverts from his perception of 'normal'.

This obsession with perfection follows through to his objectification of women, best expressed by his statement "for 10 dollars, there had better be some very impressive nude women down there." The imperative statement "had better be" expresses his sense entitlement and expectation, solidified by the quote " I expected single mothers ad flirting." The personal pronoun 'I' followed by the stative verb 'expected' exemplifies his egocentric behaviour ands misguided sense of entitlement in reference to how he is supposedly 'owed' attractive women.

Eggers is fully aware of his presentation of Dave's objectification and naivety in his pursuits of women, shown by the retrospective statement "I honestly thought" in reference to ow he though his advances/ fantasies of women would play out. The adverb 'honestly' expresses his sincere naivety, and in hindsight, he realises he was mistaken. Eggers constantly refers back to Dave's obsession with making a family with each reasonably acceptable woman he finds. For example, upon meeting the interviewer, Dave states "I want to settle down with her, raise a family with her." These cliched phrases are twisted imitations of romantic overtures found in more lighthearted situations, commonly found in romance genre novels, not in the memoirs of a manic depressive man desperate to stabilise his life with the semblance of a family.

In conclusion, Eggers present Dave as having a rather utilitarian approach to women, categorised by their use, best expressed by the quote " She is my mother, my girlfriend, my wife" which rather encapsulates Dave's view of women: a familiar comfort of a mother - which he is attempting to separate himself from in his new generation style of raising Toph - the sexual intimacy of a girlfriend, and the stability of a wife - a role which Dave is constantly looking for in a woman, desperate for the security that comes with the concept.

Home Essay - AHWOSG

Examine the presentation of the theme of ‘home’ in (the first 104 pages of) AHWOSG

The theme of home is often presented in a way that alludes to the darker, more depressive concepts of AHWOSG. With the segregation from the neighbours, attempts at decor, poor living conditions and games involving the pretence of parent-child relationships, Eggers uses the concept of home to express Dave’s detachment from standard living arrangements and inability to adapt in order to provide Toph with a functional home environment.

Eggers presents the concept of neighbours in a distrustful light, as anyone looking in to their home or passing by are outsiders, grouped into the collective noun in the ominous statement “people know” when referring to the state of the family’s disrepair, more specifically his mothers illness. The repeated phrase sets a clear line between the Eggers’ family and outsiders, and continues as a theme throughout the book.For example, upon moving into their second home, Dave expresses that he and Toph “do very little in the way of mingling with the community.”, showing that they have made a habit of voluntarily isolating themselves from neighbours in order to avoid scrutiny at their unfortunate circumstances.

In terms of interior decoration, Eggers describes his family’s taste as being “inconsistent”, an adjective that inspires connotations of mismatched designs and homely charm. Although Eggers statement that “it could not be uglier”, the overall description of his childhood home gives a sense of fondness and familiarity, specifically with the metaphor of the ‘aesthetically disenfranchised furniture’ as being “troubled children and refugees from around the world” which the family has adopted, having seen the “beauty within” and being unable to turn it away. The description insights a feeling of attachment and vaguely begrudging affection, but this imagery is shortly dashed by the following descriptions of the homes various cases of dereliction and the phrase “The family room is usually dark.” The lexical choice of ‘dark’ encourages connotations of gloom and despair, adding to the image of the house as a “factory”, a place of monotonous labour and plumes of pollution.

The presentation of decoration as a device of pathetic fallacy follows through to the second home that Dave and Toph move into, when they attempt to “repaint the entire house”, an activity commonly associated with new beginnings, for example, the tradition of painting a baby’s room.

However, in Eggers description, he portrays the idea that Dave and Toph leave gaps, “skipping the corners” and leaving the job largely unfinished - this alludes to the idea that the activity is slapdash, an imitation of lovingly decorating a home for aestheticism and pride. The statement that the half-hearted job leaves the rooms “loose, fuzzy and Rothkoesque” perfectly summarises the image for the reader, with the lexical choices “loose” - giving connotations of languid strokes - “fuzzy” - inspiring connotations of blurred hurriedness - and “Rothkoesque” giving the allusion of grandiosity and tastefulness, all coming together to give the impression of metaphorically covering up the lack of familiarity and comfort of home. The pretence of a fully-functional family, able to thoughtfully decorate their home is deserted most pointedly with Dave painting superheroes on Toph’s bedroom wall for “decoration and protection” - the concept is desperate and pitiful to the reader, despite its sweet sentimentality. The idea seems forced in order to emulate the security and safeness proffered by a home.

The poor attempts at functionality is furthered by the entropy of living conditions, and Dave’s power play in order to appear as a stable parental figure for Toph. When they come to the realisation that “the place is ours, but its a mess”, Dave attempts to employ some stereotypical motivation for Toph to do the chores, with Eggers presenting the conversation as if it were a business transaction (“$2 a week in tax-free allowance”) in order to make a mockery of the semblance power imbalance that should be present in a parent-child relationship.The reader gets the impression of a childish interaction, which further weakens the idea of Dave as a responsible parental figure. 

By describing Dave’s behaviour with the adjective “slovenly”, and the family room as being in a “perpetual state of disrepair” the reader is given the imagery of a slobbish environment, unfit for living in. Dave is aware of this, and his realisation is followed by a hyper-vigilant spiel of Toph being taken away - “to a house which is kept clean - where the laundry is done properly and with a parental figure that can cook” a line that encapsulates each of the dysfunctional aspects of their current living arrangements.

Dave’s attempts to act like a responsible adult is further diminished by the crude role-play of a father and son Dave and Toph often play at the expense of their neighbours, and as an act is rather alarming when taken out of context.The sarcastic tone conveyed by the statement “our best trick is to pretend, for the benefit of the neighbours, that I’m beating Toph with a belt.” shows that Dave is rather proud of the game and see’s the act as amusing rather than inappropriate and  

immature.The fact that the reader knows of their fathers alcoholism and volatile violence destabilises the humour of the act and makes the concept rather dark and disconcerting for the reader.

In conclusion, the theme of home is often presented as a mode of pathetic fallacy, alluding to the stability of the Eggers family. It is an important device, used to show the true extent of the the destabilisation of functionality in the living arrangements of Dave and Toph in their second home. The concept is most accurately summed up by the statement “we feel temporary here, like house-sitters, vacationers” the lexical terms associated with provisional circumstances showing the instability and detachment from reality, as if they are merely on a holiday and allowed to act however they please, both lacking responsibility and sense of decorum with the lack of a stable home.

P.E.E. Paragraphs

English Homework - Gabriella Parker

Write a P.E.E Paragraph Identifying Literary and Linguistic Techniques for Teacher and Student Extract and Pages 53-57 (Drummer Hodge)

Teacher and Student

In the discourse between the teacher and the student named Alex, the teacher uses the rhetorical interrogative “ Is that a threat?” in order to take control of the power balance between the two in response to Alex’s ‘cheekily’ phrased interrogative “What if I don’t answer?”. This shows the assertion of dominance the teacher is applying over the student, challenging his disobedient behaviour in order to imply that there will consequential repercussions if Alex is in fact challenging his authority.

Drummer Hodge 

In direct contrast with the Teacher and Student, Hector uses a much more relaxed approach to analysing poetry. By using the loose interrogative, “ Any thoughts?” as an agenda-setting coax, his teaching style is more of a gentle encouragement that allows Posner’s personal interpretation to be expressed. In this way, it is clear to infer that there is an almost symmetrical power balance between Hector and Posner in their discourse, and it appears to be more of a conversation than a lesson.

Relationship Bewteen Irwin and Posner

English Homework - Gabriella Parker

Discuss how Irwin and Posner’s relationship is presented in this exchange.

Discuss how Irwin and Posner’s relationship is presented in this exchange

It is clear from Irwin and Posner’s colloquy in the beginning of Act Two that the underlying tension caused by their shared interest in Dakin still plays a major role in their relationship and how they interact with each other.The ellipsis used in Posner’s question “He liked you…didn’t he?” creates a feeling of anticipation, whilst the following tag question adds an insistent nudge of doubt which has the overall effect of Posner gently drawing a response out of Irwin. In retrospect of Posner’s motivation of getting information out of Irwin for a potential article, the audience/reader begins to understand that Posner has become more astute in his ability to manipulate people for his own gain. It becomes clear that Posner would like the answer to the question for more than his article, however, with his insistent drive to gain a response and his use of the word “need” when referring to why he wants the information. The word gives connotations of a more desperate desire to have his questions answered. Their rivalry over Dakin’s affection is a heavy underlying subtext that runs throughout their conversation. In this way it is possible to infer that Posner has learned from Irwin’s examples, taken on his ideologies and is now using it against him.

Impactful linguistic techniques are used often in their exchange to accentuate the barely constrained resentment that is apparent between the two. An example of this is the forceful interrogative “You’re miked, aren’t you?” which borders on being declarative in the context as it is a rephrasing of a previous question, which shows Irwin’s shocked anger at Posner’s attempt to exploit him, by repetitive inquiry, almost like an interrogation. Posner responds in kind to Irwin’s curt dialogue, using simple sentences such as “It didn't work out.” when asked sensitive questions, which portrays Posner as being to-the-point and nonchalant, much like Irwin’s detached approach to anything emotional. The most prominent example of impact is when Irwin uses the taboo language; “Now fuck off.”, which almost comes as a climatic point to their contention, as the language is as shocking as it is contemptuous. This slip of professionalism and aggression shows the audience/reader that Irwin feels threatened and is lashing out in contrast to Posner’s carefree attitude.

The use of elevated lexis plays with Irwin’s tendencies as a teacher, as Posner needs to ask the definition of “meretricious”. Irwin's response of “eye-catching, showy, false”, an asyndetic listing of synonyms which is often associated with teachers explanations, is very reflective of Irwin’s own personality. The overall effect of this exchange shows the power imbalance between the two, with Irwin seemingly more superior in intelligence. This misleads the audience into resuming their usual impression of Posner, an unassuming person with very little manipulative intent. In effect, the revelation that Posner is in fact trying to trick Irwin becomes even more of a shock, and draws attention to the change in their relationship.

Vocatives are also very powerful in expressing the relationship between the two. Whilst in the previous section of the book, Posner seldom took part in taunting Irwin with the title “sir”, as the other boys did, in this exchange Posner uses the vocative to sound ‘appealing’ and to remind Irwin of their previous relationship as teacher and student - almost mocking, now that it is clear that Irwin is no longer a teacher. In response, Irwin refuses to sign Posner’s book with his first name David, and instead with his last; a very impersonal gesture, which he acknowledges pointedly as “unfriendly”.

In conclusion, it is both ironic and slightly upsetting for an audience member/reader to find that Posner has become most effected by Irwin’s teachings, and has turned into a manipulative person who tricks people for his own gain. This mirroring of Irwin’s personality, and the fact that Posner uses Irwin’s own tricks against him, shows that Posner has adopted the traits of a person he dislikes in order to get what he wants. It might even be possible that Posner became like Irwin because Dakin was interested in him. It is obvious Posner loathes Irwin’s teaching style by his comment on Cambridge; “I thought I’d got somewhere, then found I had to go on.” which reflects Hectors sentiments about examinations and education, and how it would be more helpful to prepare them for life rather than an exam. Despite his distaste for the man and his methods, Posner has become exactly like Irwin in order to survive the harsh realities of the world. This might be a reflection of Irwin’s own development of personality, and in this way their relationship is an interesting yet bitter portrayal of two men who never got what they wanted even though they fought for it, so instead turn to manipulation.

Tasks A,B and C

English Literature and Language Homework - Gabriella Parker

Friday 16th October 2015

Task A

Write an opening to a dystopian novel where you imagine your school in the distant future.

It’s 2235. My name is Resident 451, faction number 19. This is my story.

DO NOT IGNORE THIS MESSAGE

Day 623, Post Neurone Sector, 

If you are receiving this, my theory was correct.

595 days after the war broke out, I was taken out of Holding. For those of you receiving this in Cent. 021, Holding refers to the process of “cryogenic freezing”, a phrase used by your century according to my data core. They year is 2224, I am registered as 372, faction number 18.

 This message is the first attempt to contact prior residents.

Attached to this message is the mathematical theorem for what a person of your century would call “time travel” or “inter-dimensional skip”, as is the most recent translation.

My reason for this is simple: I ask that you stop the events that will occur on May 16th, 2045.

If I have calculated this correctly, this will reach Sarah H.Blackwood at co-ordinates 45.7° latitude, 122.3° longitude, on February 24th, 2015.

Do not ignore this.

Do not give up.

Your task is imperative to ending this war.

Good luck.

• 2224

I was 15 when I received this message. Half way through an episode of The Simpsons with an empty can of Coke in my right hand. What would you have done? Exactly. I trashed the email and updated my firewall, didn’t think much of it. It took 8 days for the next message to come through. Same anonymous sender, same absurd bullshit. Again, I ignored it.

Except, it didn't end with my ignorance.

It didn’t end when I got a new laptop, set up a new account. It didn't end when my parents decided the best thing for a healthy growing teenager was to move country.

It didn't end when I moved out, or when I got my degree in Astronomical Physics. It didn’t end when I was offered a job at the most prestigious Astronomical Research lab in the world.

It took 5 years for me to realise that the messages were right.

The heavy glaze of the sun creates a dazed shimmer around the glass dome, which splinters the light into shards. There are no birds here. No trees. No wind.

The air is thick, humid with the sticky heat, it consumes me, makes me heavy as I take my first step, my second.

I stagger, right myself, try again. Carry on down the path I’ve walked so many times, but never like this.

It’s dizzying, how much has changed, whilst still looking familiar. It’s like a disarray of dreams sewn on in patches to the sight in front of me, little sections of normality pressed into the cement of bizarre.

The key card is in my hand, a little slash of plastic, pressing into the flesh of my palm. It feels exactly like a lie you’d tell your parents, a little rectangle of guilt and nervousness denting my hand. I knew what I was here for, what I had to do.

It felt like getting away with the lie when the key card slipped through the machine, and the button flashed green.

I pushed through the doors, keeping my head high, taking slow, practiced steps. She’d told me this is what I had to do. Nervousness would get me killed. Doubt would get me killed. Anything that differed from precision would get me killed.

I knew this, but my eyes drifted. Looked through the glass to my right.I saw Charlie out of the corner of my vision. Kate. Andrew. Hooked up to those vile machines, faces gaunt in the sterile glow of the screens. To think this is where I learned what would save them. Some kind of sick irony to it, I’ll admit.

I didn’t let myself get distracted again.

I know what I have to do.

It was 2023 before I had programmed the technology necessary to respond.

By then it was far too late.

Task B

Write a TV documentary voice over where you introduce your school or college.

Survival 101: College

I’m sure you’ve all heard advice from parents, teachers and friends exactly what to do to prepare for college.

You’ve seen the magazine articles, and the back-to-school adverts and the posters and the check lists.

But are you ready for the wilderness? Are you ready to drink your own pee to survive? Or carve out a camel to keep warm?

Okay, so I’m kidding.

 Maybe. 

But in all seriousness, you’ll need more than your pencil case and a rough knowledge of how enzymes work in order to survive this place.

Is everybody sitting comfortably?

Then I’ll begin.

This is St Brendan’s Sixth Form College.

Oh, yes, it looks lovely and welcoming from the outside.

But don’t be fooled.

Here be dragons.

Wait.

Wrong movie.

Ignore that.

Where was I.

Ah, yes.

Don’t be fooled, young ones.

This is a dangerous wilderness where you need your wits about you.

You’ll need a strategy. A back up strategy. You need it all planned out for optimum chances of success.

Luckily for you we’ve got it all figured out.

The perfect formula for college survival.

Step one….

Task C

Write an analytical commentary where you compare choices of languages, style and form.

In both pieces, I attempted humour in order to engage my young adult audience. However, in my novel introduction I used more complex lexis and descriptive language in order to create visual imagery in the audience. I ranged between complex and simple sentence structures in order to avoid a monotonous tone. In my documentary piece, I kept a light-hearted tone and simple sentences to avoid overloading my audience with information. In my dystopian piece, I switched between time periods to keep the audience’s attention and open questions they’d want answers to. I also alternated between high frequency and low frequency lexis in order to add character to the first person. I used modern references that would be appropriate to my audience in both pieces. In my documentary I included relatable experiences that would engage the audiences attention.

Key Genre Conventions of an Interview

Thursday 8th October

Meryl Streep Interview 

http://www.timeout.com/london/film/meryl-streep-on-feminism-family-and-playing-pankhurst-in-suffragette

Key Genre Conventions of an Interview

• Intriguing headlines

• “feminism, family and playing Pankhurst” = alliteration, along side “Suffragette”, a fricative noun = gives more impact due to repetitive sounds and harsh vowels 

• Subtitle summary sentence to further inform the reader of content/ blurb 
• Name 
• Date 

• Picture

• Smiling
• Relaxed 
• Approachable = someone you want to know more about 
• T-shirt as mentioned in title 
• Paints positive, quirky picture of her 

• Current events

• Streep in a new film, public more aware of her in media
• Feminism = controversial topic, debated more often recently, given historical context with Suffragettes 

• Begins with inspirational topic = very influential woman, successful, interesting 

• mottos, background, advice, personal relationships 

• Quote to introduce new topic of discussion (“Being lady like is underrated”) = readers want to know reason and context

• Swaps between easy, mild questions and quite invasive questions to keep reader interested 
• Questions and answers range in complexity, avoids monotone 
• Controversial, intriguing topics e.g feminism, imposter syndrome 
• Satisfies morbid public interest = questions that fans and general public would want answered, sense of uncovering secrets

• Simplistic layout, gaps between each question = easy to digest, doesn't drag
• Different shades of font = alternating between faded and bold to avoid confusion as to what is the question and what is the answer
• Answer in quotations marks = direct speech, not reported 
• Formal questions, elevated lexis
• Jargon appropriate for acting field of work e.g “colleagues”
• Passive voice, only expressing interviewee’s opinion 
• Interrogative sentences e.g “What…?”  and imperative sentences e.g “Describe…”
• Ends with a humorous comment from Meryl Streep, a sarcastic, rhetorical question that leaves the reader on an amused, open note

How does the Interview inform and entertain its reader? 

The text is initiated with an intriguing headline and an interesting insight in the form of a summary subtitle, which offers slightly more information to entice the reader but not give everything away.

Alliteration and a fricative  noun are used in the title, “Meryl Streep on feminism, family, and playing Pankhurst in Suffragette.”, which is a clever dynamic of linguistic techniques used to deliver the most impact with repetitive and forceful sounds. This creates a punchy, to-the-point effect, engaging the reader with a direct approach.

A picture is used as a representation of the interviewee; in this case Meryl Streep is shown smiling and relaxed, wearing a t-shirt emblazoned with a powerful quotation from the movie ‘Suffragettes’, as promised in the subtitle. This presents Streep in an approachable light, further drawing in the reader with her pleasant and characteristic image.

The author entertains the reader with up to date information, circulated around current events, straight from the horses mouth, as it were. A simplistic layout is used to keep the information quick-fire and therefore keep the reader engaged, using alternating colours to avoid confusion between the interviewers questions and the interviewees answers.

The questions range in complexity and topic in order to capture a wide scope of interests, with information on her home life mixed in with her innermost opinions and views. The questions are kept at a heightened lexis, as a planned script, whilst the answers are more free speech and humorous in some cases, as expected from an interview.