Level 6 English: Every Victorian Curriculum Code, Explained

Level 6 English in the Victorian Curriculum 2.0 is 25 content descriptions, VC2E6LA01 through VC2E6LY11. The national curriculum uses 23 for the same year. The Language strands line up almost code for code again, as they did at Level 5, and the whole of the difference is once more in Literacy: Victoria keeps a separate editing descriptor and a separate handwriting descriptor, and the national set has neither.

Two of those differences are worth more than the arithmetic suggests. VC2E6LY11 is the last handwriting descriptor in Victorian English, and the national curriculum has not mentioned handwriting since Year 2, four years earlier. And VC2E6LA07, which reads on paper like the national visual-literacy code, asks a completely different question: Victoria wants students to see how images and sound create a point of view, where the national version asks how they contribute to meaning. That single word changes which other code it belongs next to. This is a working guide to all 25 codes: where Victoria sits above the national curriculum and where it sits below, the three codes that decide Level 7, a term-by-term order, and six checks worth running before December.

What changes this level

Three shifts, plus four deadlines that are invisible unless you read forward.

Bias arrives. VC2E6LA02 covers the uses of objective and subjective language and asks students to identify bias. Level 4 asked them to sort opinion from fact from feeling. Level 5 asked them to support their own claims properly by taking account of other views and authoritative sources. Level 6 asks them to notice when someone else has not, and bias is a word Victorian English has not used before this code. It is not a stronger version of subjective language. Subjective language is visible inside a sentence; bias is a pattern across a whole text, and it is usually made of what is missing.

Point of view moves into the visual code. This is the Victorian divergence worth planning around. VC2E6LA07 asks students to identify how still images (figures, tables, diagrams, maps and graphs), moving images and sound are used to create point of view. The national equivalent, AC9E6LA07, names the same list of visuals and asks how they contribute to meaning, which makes it an information-graphics code that sits closest to the maths data strand. The Victorian version is a stance code that sits next to VC2E6LA02. Victoria also adds moving images and sound, which the national code does not mention at all. If you plan from a national scope and sequence, this is the code you will teach wrongly.

The grammar gets hard in two places at once. VC2E6LA05 introduces embedded clauses, which sit inside a noun group rather than hanging off the main clause and are the most difficult structure named anywhere in primary English. VC2E6LA06 brings tense back after a level of complete silence, and brings it back as elaborated tenses: the perfect and continuous forms, not the past, present and future of Level 4. Both arrive in the same year and both depend on the noun group and verb group work of Level 5.

The deadlines: four Victorian codes end here. Level 7 has no equivalent of any of them, and none of the four produces a marked piece, which is why they drift.

• VC2E6LY03 is the last descriptor in Victorian English to name phonological knowledge. Level 7 spelling is VC2E7LY03, which is rules, patterns, affixes and etymology.
• VC2E6LY05 is the last reading accuracy and fluency descriptor. Nothing at Level 7 asks a student to read accurately and fluently, re-reading and self-correcting.
• VC2E6LY11 is the last handwriting descriptor, and it is the only one that asks for sustained periods. Level 5 asked for legible, fluent and automatic writing; Level 6 adds stamina, and then the curriculum stops asking.
• VC2E6LA09 is the last comma descriptor. Level 7 punctuation is colons and brackets. Apostrophes ended a level earlier at VC2E5LA09, which our guide to the Level 5 English codes treats as its own deadline.

The level at a glance

Literacy drops from twelve codes to eleven. The one that left is VC2E5LY05, less common plurals and how a suffix changes meaning or grammatical form, and its content moves into VC2E6LY04 alongside word origins. That is the same move the national curriculum makes, and it means derivational morphology gets skipped by any program that reads VC2E6LY04 as an etymology code.

Reading the codes, and where Victoria diverges

The pattern is VC2 + E + level + strand + number, so VC2E6LA07 is Level 6, Language, seventh description. Victorian numbering runs by level rather than by year group, but at Level 6 the mapping is direct: Level 6 is Year 6. Our guide to the Victorian Curriculum covers the level system, and the comparison with the national curriculum covers the structural differences across all subjects.

Five differences at this level are worth knowing before you plan.

• Editing has its own code. VC2E6LY10 covers re-reading and editing the student’s own texts and the texts of others against agreed criteria, and exploring editing choices. Nationally, editing is a single verb inside AC9E6LY06 and it never says whose text or against what. Victoria has run an unbroken editing descriptor from Foundation to Level 10, and this is the sixth rung.
• Handwriting has its own code, and the national curriculum stopped in Year 2. VC2E6LY11 asks for legible, fluent, automatic writing sustained over time. The only handwriting descriptor in national English F–10 is AC9E2LY08, about unjoined letters. That is a four-year gap in one framework and a live descriptor in the other.
• Victoria keeps reading fluency and skips navigation. VC2E6LY05 asks students to select and read texts of varying complexity accurately and fluently, re-reading and self-correcting. The national curriculum has no reading-accuracy code at Year 6 and instead has AC9E6LY04 on navigating texts and evaluating structural features such as a table of contents, glossary, chapters and headings. Victoria has no equivalent: its navigation codes run to Level 4 and stop. A Victorian program has a descriptor telling you to keep listening to children read and none telling you to teach them how a book is organised.
• The comma code is narrower. VC2E6LA09 covers one job: separating a dependent clause from an independent clause. AC9E6LA09 covers three, adding lists and dialogue. In practice this makes the Victorian comma code a pure companion to VC2E6LA05, which is tidy. It also means dialogue punctuation gets no second pass in Victoria: it was taught at VC2E4LA11 and VC2E4LA12 and it is not named again.
• Modality appears once in the whole curriculum, here. VC2E6LE02 names five things to compare across texts: language choices, modality, emphasis, repetition and metaphor. The word modality appears nowhere else in Victorian English F–10 and nowhere at all in the national English curriculum. It is also the most useful of the five, because modality is how certainty is expressed (will against might, always against often) and certainty is the mechanism the bias work at VC2E6LA02 keeps running into.

Strand by strand

Language (VC2E6LA01 to VC2E6LA09)

Nine descriptions, in four groups.

The stance group is VC2E6LA01 and VC2E6LA02: how language varies as formality and social distance change, and objective and subjective language plus bias. VC2E6LA01 adds social distance to Level 5’s social roles, and the two variables are worth separating for students, because they move independently: a note to a much-loved grandparent is close and formal, a message to a classmate you have never met is distant and casual.

The text-structure group is VC2E6LA03 and VC2E6LA04. VC2E6LA03 covers how different types of texts are organised into characteristic stages and phases, and recognises that authors adapt those structures. The adaptation clause is the one that matters, because it is what stops a student marking every real text as wrong for failing to match a template.

VC2E6LA04 is broader than its national counterpart and the extra breadth is genuinely useful. Nationally, cohesion at Year 6 is repetition and word associations. Victoria asks for sequence and cohesion built from the intentional repetition of three things: text structures, language features and vocabulary. Repeating a structure is cohesion in Victoria and is not named nationally at all. Three paragraphs that each open with a claim and close with an example are held together by their shape, and a student can feel that long before they can analyse a lexical chain, which makes the Victorian version the easier one to teach first.

The grammar group is VC2E6LA05, VC2E6LA06 and VC2E6LA09: embedded clauses, verb choice and elaborated tenses and adverb groups, and the comma that separates a dependent clause from an independent one. All three belong in the same term, because the third punctuates the first and the second supplies the main clause both of them need.

VC2E6LA06 is the code the level is most likely to skip. Tense was last named at VC2E4LA09, two levels earlier, as past, present and future. It returns as elaborated tenses, meaning the perfect and continuous forms: had been walking, will have finished, has been trying. Those forms carry time relationships simple tenses cannot express, and they are why a Level 6 recount can say that one thing had already happened when another one started. Level 7 asks for consistency of tense at VC2E7LA06, so skipping this code means arriving at a descriptor about consistency without having met most of the tenses.

Visuals and vocabulary are VC2E6LA07 and VC2E6LA08. VC2E6LA07 is treated in full below. VC2E6LA08 asks students to examine how authors use vivid vocabulary and figurative language, and it names metaphor, simile, personification, idiom, imagery and hyperbole. Level 5 met those terms at VC2E5LE04 as literary effect. Level 6 meets them again as word choice, in the Language strand, which is the curriculum saying figurative language is a tool for working on a reader rather than an ornament for a poem. Read it next to VC2E6LA02 and next to the modality clause in VC2E6LE02, and the three become one argument.

Literature (VC2E6LE01 to VC2E6LE05)

Five descriptions, and the change from Level 5 is that literature becomes comparative.

VC2E6LE02 is the level’s sharpest literature code and it is more specific than its national counterpart. The national version asks students to identify similarities and differences in texts on similar topics, themes or plots, which leaves the axis of comparison open. Victoria names it: language choices, modality, emphasis, repetition and metaphor. Those five are analytical categories rather than content categories, so a Victorian comparison has somewhere to go after “both books are about war”. It does require two texts, which is the commonest reason this code goes unmet, since a program built around one class novel a term has nothing to compare. Pair a novel with a picture book, a poem, a film or a myth on the same plot shape.

VC2E6LE03 asks students to describe the characteristics that define an author’s individual style. Style is a pattern, so this one also needs more than one text, this time by the same writer. Note the verb is describe, where the national version says identify and explain: the Victorian bar is a fraction lower and the work is the same.

VC2E6LE04 covers sound and imagery in prose and poetry. The national code at this year level says poetry only. Victoria made the same choice at Level 5, and it matters in practice because prose is where students actually meet imagery in quantity.

VC2E6LE05 is the strand’s output: creating texts that adapt plot structure, characters, settings or ideas from literature students have encountered, experimenting with vocabulary and literary devices. VC2E6LE01 carries the First Nations requirement and asks for students to explore their responses to characters and events drawn from historical, cultural or social contexts.

Literacy (VC2E6LY01 to VC2E6LY11)

Eleven descriptions, in four groups.

The oral group is VC2E6LY01 and VC2E6LY02: interaction skills and awareness of formality when paraphrasing, questioning, clarifying and interrogating ideas, developing and supporting arguments, and sharing and evaluating information and opinions; and delivering structured spoken and multimodal texts to an intended audience using appropriate features of voice. Victoria keeps delivery as a standalone descriptor where the national curriculum bundles planning, creating, rehearsing and delivering into one code. The practical effect is that a Victorian program can evidence the delivery separately from the preparation, which is the half most often assumed.

Interrogating in VC2E6LY01 is the oral half of VC2E6LA02. Asking a text or a speaker the questions that expose what they are doing is the same skill as finding bias, arriving in a different strand, and it is far easier to teach out loud first.

The spelling group is VC2E6LY03 and VC2E6LY04: combined phonological, morphological and vocabulary knowledge used to read and write increasingly complex words, and using known words, base words, prefixes, suffixes, letter patterns, spelling generalisations and word origins including Latin and Greek roots to spell new and technical words. VC2E6LY03 is the last phonological descriptor in Victorian English. VC2E6LY04 is where the level’s vocabulary work actually lives, and the payoff is not in English at all: it is in the science, geography and history vocabulary a Level 7 student meets at several times the Level 6 rate. Teach the twenty highest-yield roots and the return runs to hundreds of words.

The reading and comprehension group is VC2E6LY05 to VC2E6LY08: selecting and reading texts of varying complexity accurately and fluently with re-reading and self-correction; examining media texts and how they reflect their context; analysing how text structures and language features work together to meet a purpose and influence audiences; and comprehension strategies used to build literal and inferred meaning and to connect and compare ideas across sources.

VC2E6LY05 is the outlier and the one to protect. It is the last time the curriculum asks anyone to listen to a child read, and it is the code most likely to be quietly dropped in Year 6 on the grounds that the class can obviously read. The word doing the work is select: the student choosing a text of appropriate complexity is part of the descriptor, not a preliminary to it, and a class where every text is handed out has not met it.

The production group is VC2E6LY09, VC2E6LY10 and VC2E6LY11. VC2E6LY09 asks for different types of written and spoken texts with developed and organised ideas for purpose and audience, with multimodal elements as appropriate. Compare it to AC9E6LY06, which specifies paragraphs, complex sentences, expanded verb groups, tense, vocabulary, punctuation, spelling and visual features inside the writing code itself. Victoria keeps that specification in the Language strand instead. The consequence for planning is direct: a Victorian program built from the Literacy strand alone will under-specify writing, because the technical requirements are in VC2E6LA04, VC2E6LA05, VC2E6LA06 and VC2E6LA08 and nothing in VC2E6LY09 points at them.

VC2E6LY10 is the editing code and is treated in full below. VC2E6LY11 asks for legible, fluent, automatic writing sustained over a period. It is the last handwriting descriptor in the curriculum, the addition over Level 5 is stamina rather than form, and the reason it exists at Level 6 is that Level 7 assessment tasks are longer than anything a primary student has written.

The three codes that decide Level 7

VC2E6LA07: a graph has a point of view

The misconception: that this is the visual-literacy code, so it is met by reading a diagram accurately or by identifying what a photograph shows. The descriptor names point of view, and point of view is not in the image, it is in the choices made about the image: what was framed and what was cropped out, where the axis starts, which slice of time the graph covers, what the music under the clip is doing to you. A perfectly accurate graph can carry a strong point of view, and those are the ones worth teaching on.

What you will see: three shapes. The first is the description answer, where the student tells you what the image contains and stops, which is the national version of this code and not the Victorian one. The second is the assumption that a photograph is evidence and a graph is neutral, so bias is looked for in the words around them and never in them. The third is the one that comes from teaching this as an English-only code: a student who can analyse an advertisement and cannot see anything at all in the graph in their science book, because the science book is where facts live.

The fix: teach it as a set of choices with alternatives, which makes point of view visible without any technical vocabulary. For a still image, ask what is just outside the frame, and have students crop the same photograph two ways to produce two different stories. For a graph, change one thing and re-read it: start the axis at zero instead of at eighty, extend the time span by five years, swap a bar chart for a line. The numbers do not change and the claim does, and that is the whole code in one demonstration. For moving images and sound, which the national curriculum does not mention here at all, mute a clip and watch it, then play only the audio, then play both, and ask which version was most persuasive. Then bring it back to VC2E6LA02, because a text that combines a calm paragraph with a heavily selected graph is the most common form bias actually takes, and neither code catches it alone. Use the class’s own science and geography material rather than an English text, since that is where students most need the habit and least expect to need it.

VC2E6LY10: editing someone else’s work is a criteria problem

The misconception: that peer editing is the point, so a lesson where students swap books and comment has met the code. VC2E6LY10 has two halves and the second one is new at this level: agreed criteria, and exploring editing choices. Level 5 established the criteria half at VC2E5LY11. Level 6 adds the idea that a change is a choice between options rather than a correction, which is a different mental act and a much harder one.

What you will see: proofreading. Two children exchange work and come back with spelling and full stops, because those are the only changes with an obviously right answer. The second shape is the compliment sandwich with no content in the middle, which is what happens when students are asked to be constructive without being given anything specific to be constructive about. The third, and the one that indicates the criteria half is missing, is the exchange of preferences: “I would have said it differently”, from a reviewer who is at exactly the same level as the writer and has no shared standard to appeal to.

The fix: build three criteria with the class rather than handing them over, derived from a piece that works and a piece that does not, and require every comment to quote a sentence and name the criterion it fails. That much is Level 5 and it is the prerequisite. For the Level 6 addition, change what a comment looks like: instead of one suggested fix, require two possible rewrites of the same sentence and a sentence saying which one is better and why. That is exploring editing choices, made concrete, and it is the difference between a student who can correct a text and one who can weigh it. Run several rounds on anonymous writing before anyone edits a classmate, and use the students’ own drafts from VC2E6LY09 rather than contrived exercises. This code is also the direct ancestor of VC2E7LY09, which asks students to reflect on the editing process itself, so the reasoning half is what transfers.

VC2E6LA05: an embedded clause is not just another complex sentence

The misconception: that this is Level 5’s complex sentence again, so any sentence with a subordinate clause meets it. VC2E5LA05 was an independent clause plus a dependent clause, which hangs off the sentence, usually at the front or back and usually introduced by because, when or although. An embedded clause sits inside a noun group and describes the noun: the dog that had been barking all night finally slept. Take it out and the dog finally slept is still a complete sentence with the same structure. That is a structural difference, not a stylistic one.

What you will see: more becauses. Asked for a sentence with an embedded clause, students produce longer versions of the complex sentences they already write, because the instruction sounded like a request for length. The second tell is punctuation, and in Victoria it is diagnostic, because VC2E6LA09 covers exactly one comma job and it is this one: an embedded clause takes a pair of commas or none at all, and a student who has not seen the structure puts a single comma in the middle of a noun group and cuts it in half. The third is the reverse failure, a student who can underline embedded clauses in a text and never writes one, which is the usual result of teaching the structure through identification exercises.

The fix: teach it as noun group expansion rather than sentence construction, which makes it a continuation of Level 5’s VC2E5LA06 instead of a new idea. Expand a bare noun group in stages: the dog, then the old dog, then the old dog from next door, then the old dog that had been barking all night. The last step is an embedded clause and the student has built one without meeting a definition. Then run the deletion test in both directions, since it is what tells the two clause types apart: remove the clause and ask whether the sentence still stands (embedded) or collapses (dependent). Teach VC2E6LA09 in the same fortnight, because in the Victorian curriculum the comma code exists for this and nothing else. And require an embedded clause in a real paragraph rather than in an exercise, because the purpose of the structure is to say more about a thing without starting a new sentence, and that purpose is invisible outside a piece of writing.

What students need to arrive with

The prerequisites are mostly in the Level 5 English code set, and two of the six come from Level 4.

• VC2E5LA06 (expanding noun groups). This is the prerequisite for VC2E6LA05 rather than VC2E5LA05, because an embedded clause is a noun group expansion. A student who cannot expand a noun group in named directions has nothing to embed a clause into.
• VC2E5LA05 (the complex sentence used for effect). VC2E6LA05 expands the variety of complex sentences, which assumes one kind is already reliable.
• VC2E5LY11 (editing own and others’ texts against agreed criteria). VC2E6LY10 adds the weighing of alternatives on top. A student who has never worked to a shared criterion has nothing to weigh options against.
• VC2E5LA02 (moving past bare assertions with differing opinions and authoritative sources). Bias at VC2E6LA02 is this code turned around and pointed at somebody else’s text. A student who has never had to support a claim has no standard against which to notice a missing one.
• VC2E4LA08 (past, present and future tense). Yes, Level 4: there is no Level 5 tense code, so this is a two-year-old prerequisite and the one most likely to have faded. Check it in February, because VC2E6LA06 goes straight to the perfect and continuous forms.
• VC2E4LA09 (framing, placement and salience in still and moving images, and the use of sound). This is the ancestor of VC2E6LA07 and it is the reason the Victorian visual progression works: Level 4 teaches that an image is composed, Level 6 asks what the composing was for. A student who has never been asked what is outside the frame will read a photograph as a record.

What this level sets up

Level 7 is 24 codes and the Literature strand grows from five to six, which is the largest structural change in Victorian secondary English.

• VC2E6LA02 becomes VC2E7LA02, the language of evaluation and substantiation. Level 6 notices bias; Level 7 has to prove a judgement.
• VC2E6LA04 becomes VC2E7LA04, and cohesion jumps scale from repetition inside a text to whole-text signposting: overviews, examples, beginnings and endings. Three levels, three scales: sentence position at Level 5, deliberate repetition at Level 6, document architecture at Level 7.
• VC2E6LA05 becomes VC2E7LA05, complex and compound-complex sentences used to elaborate, extend and explain.
• VC2E6LA06 becomes VC2E7LA06, consistency of tense through verbs and verb groups. Level 6 supplies the tenses and Level 7 polices them.
• VC2E6LA07 becomes VC2E7LA07, which keeps still images, moving images and sound and upgrades point of view to perspective. This is a rare case where the Victorian progression is cleaner than the national one, which jumps to vectors, angle and social distance at AC9E7LA07 and leaves the images-and-sound framing behind.
• VC2E6LY10 becomes VC2E7LY09, editing by removing repetition, refining ideas, reordering sentences and substituting words for impact, and then reflecting on the process. The exploring-choices half of Level 6 is what that reflection is made of.
• VC2E6LY03, VC2E6LY05, VC2E6LY11 and VC2E6LA09 become nothing. No phonological knowledge, no reading fluency, no handwriting and no comma descriptor exists after Level 6.

A term-by-term order

1. Term 1: verbs, tenses and the fluency check. VC2E6LA06 first and properly, three or four weeks, because tense has had a two-level gap and because it is the verb-side twin of last year’s noun group work. Teach the elaborated forms through time relationships in recounts rather than through conjugation tables. Run VC2E6LY05 as a real routine from Week 1, listening to every child read, because it is the last fluency descriptor in the curriculum and December is too late to find a problem. VC2E6LY03 and VC2E6LY04 spelling from Week 1 with the Latin and Greek roots block started early. VC2E6LY01 and VC2E6LA01 inside routines.
2. Term 2: embedded clauses, commas and deliberate repetition. VC2E6LA05 taught as noun group expansion, confirmed with the deletion test, and VC2E6LA09 taught in the same fortnight because in Victoria the comma code exists for this job and no other. Then VC2E6LA04, starting with repetition of structure rather than of vocabulary, since a repeated paragraph shape is the easiest of the three to see and Victoria is the framework that names it. Run both against VC2E6LY09 drafts. Add VC2E6LA03 stages, phases and adaptation.
3. Term 3: bias, and point of view in images. VC2E6LA02 as the term’s spine, taught as questions asked of a text: who is speaking and who is not, what would somebody who disagreed say and is any of it here, what is being treated as obvious. VC2E6LA07 in the same weeks and not in an English lesson, using the class’s own science and geography graphs, with the axis-and-crop demonstrations. VC2E6LY06 media texts and VC2E6LA08 vivid and figurative vocabulary alongside, since emotive word choice is the mechanism the analysis keeps finding. VC2E6LY07 analysing how structures and features influence an audience. Finish by turning all of it on the students’ own persuasive writing.
4. Term 4: literature, editing and stamina. VC2E6LE02 and VC2E6LE03 together, because both need more than one text: a pair on the same plot for comparison, a pair by the same author for style. Teach modality explicitly here as the certainty scale, since it is the only place in the curriculum it is named. VC2E6LE04 sound and imagery in prose and poetry, read aloud. VC2E6LE05 adapting a studied text deliberately. Run VC2E6LY10 as its own block with the two-rewrites rule, on the students’ own drafts. VC2E6LY02 spoken delivery, evidenced separately from the preparation. Finish with one extended piece written by hand in one sitting, which is the only way VC2E6LY11 gets evidenced at all.

The non-obvious choice is running VC2E6LY05 as a Term 1 priority. Listening to eleven-year-olds read aloud feels like a Level 2 activity and it is the last time any Victorian descriptor asks for it. The second non-obvious choice is teaching VC2E6LA04 from structure rather than from vocabulary. Every national scope and sequence starts with repeated words, because that is what the national code names, and the Victorian code names three levels of repetition. The structural one is the easiest to see and the fastest to change in a student’s own writing.

Six checks before Level 7

• Show them a graph from their science book and ask what it wants them to think. A reading of the numbers, or “it shows the results”, means VC2E6LA07 has been met as description. Reteach by changing the axis and the time span and re-reading the same data.
• Give them a calm, factual, one-sided report and ask whether it is biased. “No, there are no opinion words” means VC2E6LA02 has been met as subjective language. Reteach with the absence question first: what would somebody who disagreed say, and is any of it here.
• “Write me a sentence about a dog with an embedded clause in it.” A sentence with because in it means VC2E6LA05 has been met as a complex sentence. Reteach as noun group expansion and confirm with the deletion test.
• Hand them a partner’s paragraph and ask for one improvement, then ask for a second way of making the same improvement. No second option, or a second option identical to the first, means the exploring-choices half of VC2E6LY10 is missing. Reteach with the two-rewrites rule.
• “Tell me what had already happened before the story started.” An answer entirely in simple past means the elaborated forms of VC2E6LA06 are missing. Reteach through time relationships in a recount rather than through named tenses.
• Ask them to write for twenty minutes by hand without stopping, then look at the last paragraph. A legible opening and an illegible ending is the sustained-periods clause of VC2E6LY11, and this is the last descriptor that asks. Reteach as stamina, in timed blocks, not as letter formation.

Six checks, five minutes, one child at a time. Each failure names a specific piece of a specific term to repeat rather than a general sense that a child is behind.

Recording the alignment

For a school program or a Victorian home education plan, record the code on the activity as you go. “Media analysis” tells a reviewer nothing; “VC2E6LA07, same data on two axes, point of view compared, 12 May” answers the question before it is asked. Victorian home educators register with the VRQA and are asked for a plan covering eight key learning areas, and codes are the cheapest way to show English is covered properly. Several of this level’s codes also do double duty against the four Capabilities: the bias work at VC2E6LA02 and the visual point-of-view work at VC2E6LA07 are Critical and Creative Thinking as much as they are English, and VC2E6LY10 peer editing is Personal and Social. Our guides to the Victorian Curriculum and state-by-state registration requirements cover the rest. The national equivalent of this level is Year 6 English in the Australian Curriculum, where the same content sits in 23 codes and the visual descriptor asks a different question, NSW readers want the nine Stage 3 English outcomes, and the differences between the two frameworks are larger in English than in maths. The Level 5 foundation for all of this is the Level 5 English code set, and the companion post on every Level 6 Maths code covers the other half of the level.

Level 6 is the level a student learns that texts, images and graphs are made by people who want something, and the fastest way to make that land is material about something they already have opinions on. An eleven-year-old will interrogate a chart about a game they play and will nod politely at one about a topic handed to them. Using an interest as the way in costs nothing in curriculum terms, because VC2E6LA02 is met identically whether the biased text is about a mining project or about a football transfer. Sprout Lessons builds an interactive lesson from any of these 25 codes, pitched at Level 6 and wrapped in whatever the child is currently obsessed with, with the VC2 code recorded in the footer. Try it free.

Curriculum codes reference the Victorian Curriculum F–10 Version 2.0 © VCAA. The curriculum can be accessed directly at f10.vcaa.vic.edu.au. The VCAA does not endorse this product. Always verify against the current content descriptions and achievement standards.

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