Quebec · Secondary 2
English Language Arts, Secondary 2
- 632-206
Quebec’s Secondary 2 English course, from Reading Process: Interpreting Texts to Conventions: Media Language.
- Units
- 11
- Lessons
- 29
- Skills
- 53
- Provincial exam
- None
- Official curriculum
- Québec Progression des apprentissages
Unit by unit
Every skill in the course, numbered by unit.
Unit 1 · 3 skills
Reading Process: Interpreting Texts
Reading Process: Interpreting Texts
Use: Uses cues conveyed by the structure, features, codes and conventions of spoken, written and media genres to determine significance
I can use the structure, features, codes and conventions of a genre as cues to decide what matters in a spoken, written or media text.
Skill 1.1
Backing your interpretation with textual evidence
Use: Cites evidence from the text to substantiate own ideas, statements, questions and opinions
I can back up my ideas, questions and opinions about a text with evidence from it, and explain how the evidence supports them.
Skill 1.2
Comparing your values with a text's
Notice (guided intro): new Reading Process: Interpreting Texts material
I can, with help, compare my own ideas, values and beliefs with the ones a text presents, and explain where I agree and where I push back.
Skill 1.3
The official wording · 3 outcomes
- 1.1
- Uses cues conveyed by the structure, features, codes and conventions of spoken, written and media genres to
- 1.2
- Cites evidence from the text to substantiate own ideas, statements, questions and opinions
- 1.3
- Compares/contrasts own ideas, values and beliefs with those presented by writer/producer (e.g. notions of
Key ideas
Every genre gives cues about what matters: headings, bold type and summaries in a textbook; a headline, a lead and a pull-quote in a newspaper; the anchor desk, on-screen titles and a reporter in the field in a television newscast.
An opinion about a text becomes an interpretation when the text backs it: 'the narrator is lonely' needs the moment she eats lunch alone in the library, not just your feeling.
Every text presents values, sometimes openly, as in an opinion column, and sometimes quietly, in what it shows as normal: a teen magazine that only shows one body type is telling readers what beauty is.
Structure is a cue too: an editorial states its position early, piles up reasons and often ends with a call to action, so its closing paragraph tells you what the writer most wants you to do.
Evidence can be a short quotation, a specific detail described in your own words, or a pattern you point out across the text (three times the narrator mentions a locked door).
Watch out for
- Thinking media “just happens” — every image, sound, angle and edit is a deliberate construction choice.
- Thinking dropping in a quote proves your point — evidence needs you to explain how it supports the claim.
- Thinking a good reader accepts the writer’s view — critical reading compares it against your own values.
Every skill’s key ideas, worked examples and checks are in MapleMind.Practise this unit
Unit 2 · 3 skills
Production Process
Setting criteria for a media production
Use: Determines criteria to judge the quality of the text
I can set criteria for judging the quality of a text, based on its purpose and its audience, before I evaluate it.
Skill 2.1
Proofreading for surface errors
Use: Surface errors in written language (i.e. spelling and usage conventions, grammar and syntax)
I can proofread my draft for spelling, usage, grammar and sentence errors as a final, separate pass.
Skill 2.2
Self-evaluating your production process
Use: Makes effective use of specific feedback throughout all stages of the production process
I can ask for specific feedback at every stage of a production, decide which comments to act on, and use them to improve my work.
Skill 2.3
The official wording · 3 outcomes
- 2.1
- Determines criteria to judge the quality of the text in light of the production context, including purpose
- 2.2
- Surface errors in written language (i.e. spelling and usage conventions, grammar and syntax)
- 2.3
- Makes effective use of specific feedback throughout all stages of the production process, including
Key ideas
Criteria are the specific qualities that make a text succeed at its job: for a public service announcement, 'the message is clear in five seconds' is a criterion, and 'it is good' is not.
Proofreading is the last pass, after revising ideas and organization: there is no point polishing a sentence you are about to cut.
Feedback helps most when it is specific and early: a classmate's 'the middle drags' on a draft is worth more than 'it was good' on the final copy.
Criteria come from the production context: a podcast for Grade 5 students needs plain words and a lively voice, while a report for the school board needs accurate facts and a formal register.
Surface errors fall into families: spelling (definately), usage (their and there, affect and effect, could of), grammar (subject-verb agreement, pronoun case) and syntax (run-on sentences and fragments).
Watch out for
- Thinking you can tell a draft is ‘good’ by feel — evaluation needs criteria set against the purpose and audience.
- Thinking proofreading and revising are the same — proofreading fixes errors; revising rethinks ideas and structure.
- Thinking feedback is a grade to defend — it’s information to revise with, and you choose what to act on.
Every skill’s key ideas, worked examples and checks are in MapleMind.Practise this unit
Unit 3 · 1 skill
Research Process
Research Process
Use: Distinguishes between primary and secondary sources, both print and non-print
I can tell primary from secondary sources, in print and non-print forms, and explain what each kind can and cannot show me.
Skill 3.1
The official wording · 1 outcomes
- 3.1
- Distinguishes between primary and secondary sources, both print and non-print
Key ideas
A primary source comes from the time or the person you are studying: an artefact, a diary, an interview, an autobiography, a photograph, a video of the event. A secondary source interprets primary ones: a textbook, an encyclopedia entry, a documentary, a newspaper analysis.
Whether a source is primary depends on your question: a 1995 newspaper article is secondary for research on the 1918 flu, but primary for research on how newspapers covered health in the 1990s.
Primary sources give first-hand detail and voice but only one view; secondary sources give context and comparison but are one step removed, so strong research uses both.
Non-print sources follow the same rule: a recorded interview with a flood survivor is primary, and a podcast episode that explains the flood is secondary.
Watch out for
- Thinking a source is reliable because it’s online and detailed — reliability depends on who made it and why.
- Thinking primary sources are always more trustworthy — a first-hand account can be biased; a secondary source can be careful and fair.
Every skill’s key ideas, worked examples and checks are in MapleMind.Practise this unit
Unit 4 · 6 skills
Required Genres: Planning Texts
Reading notes and self-monitoring texts
Use: Notes and informal transcripts based on sources read
I can read notes and informal transcripts, mine and other people's, and use them to recover ideas and build on them.
Skill 4.1
Use: Self-monitoring texts such as rubrics, checklists, project instructions and timelines
I can read rubrics, checklists, project instructions and timelines closely, and use them to plan and check my own work.
Skill 4.2
Spoken planning in production groups
Use: Discussions in media production groups (i.e. to establish roles, make decisions, etc.)
I can take part in a production group's discussions to agree on roles, decide who decides what, and record the decisions.
Skill 4.3
Written and multimodal planning texts
Use: Notes and informal transcripts based on sources read
I can write useful notes and informal transcripts, such as notes on sources, field notes and minutes, that I can use later.
Skill 4.4
Use: Graphic organizers such as mind maps, clusters, lists
I can choose and use a graphic organizer, such as a mind map, a cluster or a list, that fits how my ideas connect.
Skill 4.5
Use: Self-monitoring texts such as rubrics, checklists, timelines
I can write my own rubric, checklist or timeline to guide a project and check my progress.
Skill 4.6
The official wording · 6 outcomes
- 4.1
- Notes and informal transcripts based on sources read and/or consulted, including class/instructional notes,
- 4.2
- Self-monitoring texts such as rubrics, checklists, project instructions and timelines
- 4.3
- Discussions in media production groups (i.e. to establish roles, make decisions, etc.)
- 4.4
- Notes and informal transcripts based on sources read and/or consulted, including class/instructional notes,
- 4.5
- Graphic organizers such as mind maps, clusters, lists
- 4.6
- Self-monitoring texts such as rubrics, checklists, timelines
Key ideas
Notes and informal transcripts are working texts: class notes, notes on a source and the list a group produced while brainstorming are all written fast, to be used later.
A media production group talks its way to a plan: what the production is, who does what, by when, and how the group will decide when people disagree.
Good notes are selective: they capture the main idea, the key detail and where it came from, in your own words, and leave the rest.
Reading notes well means rebuilding the full idea from shorthand: arrows, abbreviations and key words stand for sentences you must reconstruct.
Establishing roles means naming who decides, not only who does the work: two people can film, but one person settles how the video is cut.
Watch out for
- Thinking notes should be full, tidy sentences — effective notes are fast shorthand you can rebuild from later.
- Dividing the jobs evenly but leaving every decision to the whole group, so nobody can settle how the video is cut.
- Thinking notes should capture everything a source says — selective notes that flag what matters are more usable than full ones.
Every skill’s key ideas, worked examples and checks are in MapleMind.Practise this unit
Unit 5 · 6 skills
Required Genres: Reflective Texts
Required Reflective Texts
Use: Journals, real or fictional (e.g. multimedia journals, writer’s notebooks and diaries)
I can read real and fictional journals and diaries and explain what the journal form shows about the person writing.
Skill 5.1
Use: Self-evaluations and reflections, including peer/teacher feedback conferences
I can read self-evaluations and reflections, and take in feedback in conferences, to understand what a good reflection does and what my next step is.
Skill 5.2
Use: Class and small group discussions, including first readings/initial responses to texts (e.g. group plenaries)
I can share my first response to a text in a discussion and develop it by listening to and building on other people's responses.
Skill 5.3
Use: Self-evaluation conferences (i.e. presenting contents of the Integrated Profile and peer/teacher feedback)
I can lead a self-evaluation conference: present work from my profile, explain the feedback I received, and judge my own progress.
Skill 5.4
Postproduction discussion and peer feedback
Use: Postproduction discussions (e.g. in small groups, for peer evaluation)
I can take part in a postproduction discussion, evaluating a finished production with my group against our criteria.
Skill 5.5
Use: Journals, real or fictional, such as reading logs, media logs, learning/process logs, writer’s notebook, diary
I can keep a journal, such as a reading log, a process log, a writer's notebook or a character's diary, that records and develops my thinking.
Skill 5.6
The official wording · 6 outcomes
- 5.1
- Journals, real or fictional (e.g. multimedia journals, writer’s notebooks and diaries)
- 5.2
- Self-evaluations and reflections, including peer/teacher feedback conferences
- 5.3
- Class and small group discussions, including first readings/initial responses to texts (e.g. group plenaries)
- 5.4
- Self-evaluation conferences (i.e. presenting contents of the Integrated Profile and peer/teacher feedback)
- 5.5
- Postproduction discussions (e.g. in small groups, for peer evaluation)
- 5.6
- Journals, real or fictional, such as reading logs, media logs, learning/process logs, writer’s notebook, diary
Key ideas
A journal or diary is written by one person, entry by entry, often for themselves: dates, the first person and private thoughts are its marks.
A postproduction discussion happens after a production is finished: the group looks back at what it achieved, what did not work and what the group learned.
Real journals, such as a historical diary, an explorer's log or a writer's notebook, are primary sources about a life and a time; fictional journals use the form to let us inside a character.
Peer evaluation is done against the criteria set at the start: 'our goal was a clear message in 30 seconds; did we get there?'.
Because entries are written in the moment, the writer does not know what comes next, so reading a diary means noticing how hopes, fears and plans change from entry to entry.
Watch out for
- Skipping over the dates in a diary as decoration, when a long gap between entries can signal something the writer could not bring themselves to write.
- Thinking a good discussion is where you say your piece and wait — it’s where you build on and test others’ ideas.
- Treating a diarist's opinion in one entry as their settled view, without noticing how it changes in later entries.
Every skill’s key ideas, worked examples and checks are in MapleMind.Practise this unit
Unit 6 · 6 skills
Required Genres: Narrative Texts
Required Narrative Texts
Use: Young Adult Literature (YAL) in a range of genres including novels, graphic novels, memoirs and poetry
I can read young adult literature in different genres (novels, graphic novels, memoirs and poems) and say what each genre offers.
Skill 6.1
Classic, modern, and contemporary literature
Use: Written for children and young adolescents and reflecting the variety of texts in the literary tradition
I can read myths, legends, fairy tales, ballads and other traditional texts, and explain what makes each kind part of the literary tradition.
Skill 6.2
Narratives in prose form
Use: Fictional narratives such as short story, script for a radio play
I can write a fictional narrative, a short story or a radio-play script, with a clear conflict, believable characters and an ending.
Skill 6.3
How narrative texts are built
Use: Setting: the physical landscape and social context in which the action of story occurs
I can explain how a story's setting (its time, place, social context and descriptive details) shapes the action and the mood, and build one in my own writing.
Skill 6.4
Use: Basic plot structure: rising action, climax, denouement and resolution
I can identify the rising action, climax, denouement and resolution of a story and use this structure in my own.
Skill 6.5
Literary techniques: building suspense
Use: Suspense (e.g. foreshadowing, use of action sequences, spooky music)
I can recognize how writers and filmmakers build suspense with foreshadowing, action sequences and music, and use these techniques in my own work.
Skill 6.6
The official wording · 6 outcomes
- 6.1
- Young Adult Literature (YAL) in a range of genres including novels, graphic novels, memoirs and poetry
- 6.2
- Written for children and young adolescents and reflecting the variety of texts in the literary tradition,
- 6.3
- Fictional narratives such as short story, script for a radio play
- 6.4
- Setting: the physical landscape and social context in which the action of story occurs (i.e. its time and
- 6.5
- Basic plot structure: rising action, climax, denouement and resolution
- 6.6
- Suspense (e.g. foreshadowing, use of action sequences, spooky music)
Key ideas
Young adult literature is written for readers about your age and often centres on a young narrator facing a choice, a loss or a change.
The literary tradition includes very old kinds of stories still retold today: a myth explains how something came to be, a legend is told as history about a real hero or place, and a fairy tale happens in no particular time or place and was never told as true.
A short story has room for one main change: one conflict, a few characters and a short span of time, so it usually starts when the trouble is already underway.
Setting is the time and place of a story, and also its social context: the rules, customs and pressures of the world the characters live in.
Suspense is the reader's anxious wish to know what happens next: it comes from caring about a character and knowing that something is coming, without knowing when or how.
Watch out for
- Thinking genre is just a shelf label — genre sets the conventions and expectations you read a text against.
- Using 'myth', 'legend' and 'fairy tale' as if they meant the same thing, instead of telling an origin story, a story told as history and a magic tale apart.
- Writing a radio play script that depends on what the audience would see ('she frowns'), when listeners only hear voices, sounds and music.
Every skill’s key ideas, worked examples and checks are in MapleMind.Practise this unit
Unit 7 · 10 skills
Required Genres: Explanatory Texts
Required Explanatory Texts
Use: "How to" booklets/manuals/videos
I can read and view how-to booklets, manuals and videos to follow a process and judge how clearly they explain it.
Skill 7.1
Use: Photo-essays with text (e.g. pamphlet)
I can read a photo-essay or a pamphlet and explain how its images, captions and words work together to explain.
Skill 7.2
Use: Explanations of a process (e.g. presentation of a lesson by teacher and/or peers)
I can follow an explanation of a process, such as a lesson given by a teacher or a classmate, and explain how its steps connect.
Skill 7.3
Use: Reference texts (i.e. for research purposes)
I can use reference texts, such as encyclopedias, atlases, dictionaries and databases, to find what I need for research quickly and accurately.
Skill 7.4
Use: Photo-essay with text (e.g. pamphlet)
I can produce a photo-essay or a pamphlet that explains a topic through well-chosen images, captions and short texts.
Skill 7.5
Use: "How to" booklet/manual (e.g. expert paper)
I can write a how-to booklet or manual on a process I know well, with complete steps that a beginner can follow.
Skill 7.6
How explanatory texts are built
Use: Selection and synthesis of steps in a process
I can select the steps of a process that matter and combine them into a clear, connected explanation.
Skill 7.7
Use: Organizational structure to break down, categorize and sequence steps logically (e.g. classification, chronology)
I can organize an explanation by breaking a topic into parts, grouping them and putting them in a logical order, using structures such as classification and chronology.
Skill 7.8
Use: Conclusion which reviews the salient points
I can write a conclusion that reviews the main points of my explanation, so the reader leaves with the essentials.
Skill 7.9
Use: Conventions which indicate cause and effect (e.g. causal conjunctions such as because, consequently and therefore)
I can use precise words, causal and time conjunctions and transitional phrases to show clearly how one thing causes another.
Skill 7.10
The official wording · 10 outcomes
- 7.1
- "How to" booklets/manuals/videos
- 7.2
- Photo-essays with text (e.g. pamphlet)
- 7.3
- Explanations of a process (e.g. presentation of a lesson by teacher and/or peers)
- 7.4
- Reference texts (i.e. for research purposes)
- 7.5
- Photo-essay with text (e.g. pamphlet)
- 7.6
- "How to" booklet/manual (e.g. expert paper)
- 7.7
- Selection and synthesis of steps in a process
- 7.8
- Organizational structure to break down, categorize and sequence steps logically (e.g. classification,
- 7.9
- Conclusion which reviews the salient points
- 7.10
- Conventions which indicate cause and effect (e.g. clear and precise diction/word choice; causal conjunctions
Key ideas
A how-to text has a predictable shape: a goal, a list of materials or tools, numbered steps in order, and often diagrams, warnings and tips.
Selecting means keeping the steps a reader needs and cutting the rest: an explanation of how a bill becomes law does not need every committee's name.
Reading one well means previewing it first: read the materials list and all the steps before starting, so nothing surprises you halfway through.
Synthesizing means combining related details into one clear step and linking the steps, so the reader sees how one leads to the next.
Visuals carry part of the instruction: a diagram or a close-up in a video can show what words cannot, such as which way a part turns.
Watch out for
- Thinking you can leave out ‘obvious’ steps — what’s obvious to you is exactly where a new reader gets stuck.
- Thinking every step deserves equal detail — a clear explanation selects the steps that matter and links them.
- Thinking a how-to just lists steps — the order and the missing-assumptions check are what make it actually usable.
Every skill’s key ideas, worked examples and checks are in MapleMind.Practise this unit
Unit 8 · 5 skills
Required Genres: Reports
Required Reports
Use: News reports in different media (e.g. television, radio, Internet, graphic reportage/journalism)
I can read, watch and listen to news reports in different media and compare how each medium shapes the same news.
Skill 8.1
Use: Short breaking news stories on topics of personal and/or local interest, such as for an online newspaper or blog
I can write a short breaking news story about a local or school event for an online newspaper or a blog.
Skill 8.2
The inverted pyramid in news reports
Use: Inverted pyramid structure in short breaking news story (i.e. answering W5 in descending order of importance)
I can structure a breaking news story as an inverted pyramid, answering the W5 questions from most to least important.
Skill 8.3
Ordering the W5 by importance
Use: Features that give a sense of immediacy and prescience in a breaking news report
I can make a breaking news report feel immediate with the active voice, simple sentences, eyewitness quotations and a captioned photo.
Skill 8.4
Matching structure to the information reported
Use: Cause/effect and chronology
I can organize a report by cause and effect or by chronology, choosing the structure that matches the information.
Skill 8.5
The official wording · 5 outcomes
- 8.1
- News reports in different media (e.g. television, radio, Internet, graphic reportage/journalism such as 9/11
- 8.2
- Short breaking news stories on topics of personal and/or local interest, such as for an online newspaper or
- 8.3
- Inverted pyramid structure in short breaking news story (i.e. answering W5 in descending order of importance)
- 8.4
- Features that give a sense of immediacy and prescience in a breaking news report: active voice, simple syntax
- 8.5
- Cause/effect and chronology
Key ideas
Each medium reports news with its own tools: television with video, an anchor and on-screen text; radio with voices, sounds and short scripts; online news with links, updates and comments; graphic journalism with drawn panels.
The inverted pyramid puts the most important information at the top and the least important at the bottom, like a pyramid standing on its point.
The active voice names who acted and keeps sentences moving: 'Firefighters rescued two students' is more immediate than 'Two students were rescued by firefighters.'.
A report's structure should match the shape of its information: events that unfold over time call for chronology, and a problem with its consequences calls for cause and effect.
The medium shapes the story: television favours events with strong pictures, radio needs words that paint the scene, and online stories can be updated as the news changes.
Watch out for
- Thinking bias means lying — a report can be one-sided and still factual; bias is about selection and slant, not falsehood.
- Thinking a news story should build up to the point like a story — breaking news puts the most important facts first.
- Writing breaking news in the passive voice and long sentences ('it was reported that a fire had been started'), which slows the story down.
Every skill’s key ideas, worked examples and checks are in MapleMind.Practise this unit
Unit 9 · 2 skills
Conventions: Spoken Language
Conventions: Spoken Language
Use: Makes effective use of visual aids to support spoken language, such as handouts or photographs
I can choose, design and use visual aids, such as handouts, photographs and slides, that support what I say.
Skill 9.1
Use: Exploits the possibilities of spoken language as a system in the context of learning
I can use talk to learn: build ideas with others by asking and answering questions, and listen actively by paraphrasing what I hear.
Skill 9.2
The official wording · 2 outcomes
- 9.1
- Makes effective use of visual aids to support spoken language, such as handouts or photographs
- 9.2
- Exploits the possibilities of spoken language as a system in the context of learning (e.g. constructs or
Key ideas
A visual aid should show what words alone cannot: a map of a route, a photo of an animal, a chart of a change over time.
Design it for the back row: a few large words or one clear image per slide, labels on a chart, and a handout for the details the audience needs to keep.
Introduce and explain each aid: tell the audience what they are looking at, then what it means, and look at them, not at the screen.
Time the aid: show it when you talk about it, and give out detailed handouts at the end, so the audience listens instead of reading.
Talk is a tool for thinking: saying a half-formed idea aloud, asking a question or answering one often shows you what you understand and what you do not.
Watch out for
- Thinking a slide should contain everything you’ll say — a packed slide competes with you; keep it to cues.
- Thinking any handout or photo helps — a visual aid earns its place only if it shows what words struggle to.
- Paraphrasing by repeating the speaker's exact words, which shows nothing about whether you understood them.
Every skill’s key ideas, worked examples and checks are in MapleMind.Practise this unit
Unit 10 · 9 skills
Conventions: Written Language
Conventions: Written Language
Use: Uses a structure that fits the genre (e.g. letter format, narrative, play, essay)
I can use the structure that fits the genre I am writing, such as a letter, a narrative, a play or an essay.
Skill 10.1
Use: Employs a variety of paragraphing strategies (e.g. topical, chronological, spatial)
I can choose how to organize my paragraphs, by topic, by time or by space, to suit my genre, audience and purpose.
Skill 10.2
Use: Uses paragraph breaks to indicate an organizational structure
I can break my writing into paragraphs where the idea, the time, the place or the speaker changes, so the reader can follow my structure.
Skill 10.3
Use: Employs a strong beginning/introduction/lead to engage the reader
I can write a beginning that hooks my reader, with a question, a vivid scene, a surprising fact or a strong statement.
Skill 10.4
Use: Uses relevant details and elaborates on these to support the main idea
I can support my main idea with relevant, specific details and explain how each one supports it.
Skill 10.5
Use: Uses an ending that provides a sense of resolution or closure
I can write an ending that gives my reader a sense of resolution or closure.
Skill 10.6
Use: Uses smooth, effective transitions to maintain unity and coherence
I can use transitions between sentences and paragraphs so that my writing flows and holds together.
Skill 10.7
Syntax and usage
Use: Uses a variety of phrases and clauses to add detail and depth (e.g. appositive phrase, adverbial clause)
I can use phrases and clauses, such as appositives and adverbial clauses, to add detail and depth to my sentences.
Skill 10.8
Word Choice/Diction
Use: Uses words that consistently support style, intended meaning and the organizational structure of the genre
I can choose words that fit my genre's style, say exactly what I mean, and signal how my text is organized.
Skill 10.9
The official wording · 9 outcomes
- 10.1
- Uses a structure that fits the genre (e.g. letter format, narrative, play, essay)
- 10.2
- Employs a variety of paragraphing strategies (e.g. topical, chronological, spatial) appropriate to genre,
- 10.3
- Uses paragraph breaks to indicate an organizational structure
- 10.4
- Employs a strong beginning/introduction/lead to engage the reader
- 10.5
- Uses relevant details and elaborates on these to support the main idea
- 10.6
- Uses an ending that provides a sense of resolution or closure
- 10.7
- Uses smooth, effective transitions to maintain unity and coherence
- 10.8
- Uses a variety of phrases and clauses to add detail and depth (e.g. appositive phrase, adverbial clause)
- 10.9
- Uses words that consistently support style, intended meaning and the organizational structure of the genre
Key ideas
Each genre has a structure readers expect: a letter has a date, a greeting, a body and a closing; a narrative moves from a beginning through a conflict to a resolution; a play script has character names, dialogue and stage directions; an essay has an introduction, body paragraphs and a conclusion.
An appositive phrase renames a noun right beside it and is usually set off by commas: 'Ms. Tremblay, our science teacher, built the robot.'.
Style depends on the genre: a lab report uses precise, neutral words ('the solution turned blue'), while a horror story uses vivid, emotional ones ('the water bled into a cold, sick blue').
Using the expected structure lets the reader find their way without effort; breaking it should be a deliberate choice.
An adverbial clause tells when, why, where or under what condition, and starts with a word such as because, when, although, if or after: 'Although it was raining, the game went on.'.
Watch out for
- Thinking structure is optional as long as the content is good — the wrong structure makes a reader work to understand you.
- Thinking longer sentences with more clauses are automatically better — added clauses must add meaning, not just length.
- Thinking bigger words make writing sound smarter — the goal is the precise word, which is often a plain one.
Every skill’s key ideas, worked examples and checks are in MapleMind.Practise this unit
Unit 11 · 2 skills
Conventions: Media Language
Conventions: Media Language
Use: Identifies and analyzes the codes used in a media text to convey the producer’s intentions
I can identify the codes a media text uses, such as images, colour, music, logos and camera shots, and explain what the producer intends each one to do.
Skill 11.1
How layout communicates a producer's stance
Use: Explains how layout cues the reader to the social function of a text
I can explain how a text's layout signals its job, for example how a poster, a news page or a television caption tells me what kind of text it is and how to read it.
Skill 11.2
The official wording · 2 outcomes
- 11.1
- Identifies and analyzes the codes used in a media text to convey the producer’s intentions (e.g. a popular
- 11.2
- Explains how layout cues the reader to the social function of a text (e.g. posters highlight visual elements
Key ideas
Media codes are the building blocks producers choose: technical codes (camera angle, shot size, lighting, editing, music), symbolic codes (colour, objects, logos, costumes) and written codes (headlines, captions, typefaces).
Layout is the arrangement of images, text, white space and colour on a page or screen, and it signals a text's job before you read a word.
Each code is chosen to do something: a logo makes a brand instantly recognizable, tense music signals danger before it arrives, and a character's red face in a graphic novel shows embarrassment.
A poster puts a large image and a few words first because its job is to catch attention in seconds; a textbook page uses headings and columns because its job is to teach.
Analyzing a code means naming it, describing what it does and linking it to the producer's intention: 'a close-up of the athlete's face makes viewers feel her effort, so they connect the drink with determination'.
Watch out for
- Thinking media “just happens” — every image, sound, angle and edit is a deliberate construction choice.
- Thinking layout is only about looking neat — layout signals the genre and function of the text.
- Thinking you either ‘get’ a media text or you don’t — reading one is a nameable skill: list the codes, then their effects.
Every skill’s key ideas, worked examples and checks are in MapleMind.Practise this unit
Plan the term
Pick your term and the days you study. Each unit gets its share of the weeks and comes back a week later for a review. The last two weeks go over the whole course.
The official curriculum
This page follows Quebec’s own curriculum for English Language Arts, Secondary 2.
Study it in MapleMind
MapleMind teaches English Language Arts, Secondary 2 one skill at a time. Each skill gets a short lesson, practice as you go and a check worth up to three stars. It remembers where you stopped.


Course Companion
Your year in one workbook
A fun way to keep English Language Arts, Secondary 2 organized, get to know your child better and see early when they need a hand. Fill it in on a screen, or print it.
- Pages
- 59
- Fillable fields
- 2,125
- Price
- $4.99
Questions about English Language Arts, Secondary 2
What is English Language Arts, Secondary 2?
Quebec’s Secondary 2 English course: 11 units and 53 skills, from Reading Process: Interpreting Texts to Conventions: Media Language.
What units are in English Language Arts, Secondary 2?
1. Reading Process: Interpreting Texts, 2. Production Process, 3. Research Process, 4. Required Genres: Planning Texts, 5. Required Genres: Reflective Texts, 6. Required Genres: Narrative Texts, 7. Required Genres: Explanatory Texts, 8. Required Genres: Reports, 9. Conventions: Spoken Language, 10. Conventions: Written Language and 11. Conventions: Media Language.
Is there a provincial exam for English Language Arts, Secondary 2?
No. Quebec gives no provincial exam for English Language Arts, Secondary 2.
What comes after English Language Arts, Secondary 2?
English Language Arts, Secondary 3.
Can MapleMind help with English Language Arts, Secondary 2?
Yes. MapleMind teaches every skill of English Language Arts, Secondary 2, step by step, with practice and checks, and its tutor answers questions about any of them. It’s free with daily limits, on iPhone, Android and the web.