essay literature structure

How to Write a Good English Literature Essay

By Dr Oliver Tearle (Loughborough University)

How do you write a good English Literature essay? Although to an extent this depends on the particular subject you’re writing about, and on the nature of the question your essay is attempting to answer, there are a few general guidelines for how to write a convincing essay – just as there are a few guidelines for writing well in any field.

We at Interesting Literature  call them ‘guidelines’ because we hesitate to use the word ‘rules’, which seems too programmatic. And as the writing habits of successful authors demonstrate, there is no  one way to become a good writer – of essays, novels, poems, or whatever it is you’re setting out to write. The French writer Colette liked to begin her writing day by picking the fleas off her cat.

Edith Sitwell, by all accounts, liked to lie in an open coffin before she began her day’s writing. Friedrich von Schiller kept rotten apples in his desk, claiming he needed the scent of their decay to help him write. (For most student essay-writers, such an aroma is probably allowed to arise in the writing-room more organically, over time.)

We will address our suggestions for successful essay-writing to the average student of English Literature, whether at university or school level. There are many ways to approach the task of essay-writing, and these are just a few pointers for how to write a better English essay – and some of these pointers may also work for other disciplines and subjects, too.

Of course, these guidelines are designed to be of interest to the non-essay-writer too – people who have an interest in the craft of writing in general. If this describes you, we hope you enjoy the list as well. Remember, though, everyone can find writing difficult: as Thomas Mann memorably put it, ‘A writer is someone for whom writing is more difficult than it is for other people.’ Nora Ephron was briefer: ‘I think the hardest thing about writing is writing.’ So, the guidelines for successful essay-writing:

1. Planning is important, but don’t spend too long perfecting a structure that might end up changing.

This may seem like odd advice to kick off with, but the truth is that different approaches work for different students and essayists. You need to find out which method works best for you.

It’s not a bad idea, regardless of whether you’re a big planner or not, to sketch out perhaps a few points on a sheet of paper before you start, but don’t be surprised if you end up moving away from it slightly – or considerably – when you start to write.

Often the most extensively planned essays are the most mechanistic and dull in execution, precisely because the writer has drawn up a plan and refused to deviate from it. What  is a more valuable skill is to be able to sense when your argument may be starting to go off-topic, or your point is getting out of hand,  as you write . (For help on this, see point 5 below.)

We might even say that when it comes to knowing how to write a good English Literature essay,  practising  is more important than planning.

2. Make room for close analysis of the text, or texts.

Whilst it’s true that some first-class or A-grade essays will be impressive without containing any close reading as such, most of the highest-scoring and most sophisticated essays tend to zoom in on the text and examine its language and imagery closely in the course of the argument. (Close reading of literary texts arises from theology and the analysis of holy scripture, but really became a ‘thing’ in literary criticism in the early twentieth century, when T. S. Eliot, F. R. Leavis, William Empson, and other influential essayists started to subject the poem or novel to close scrutiny.)

Close reading has two distinct advantages: it increases the specificity of your argument (so you can’t be so easily accused of generalising a point), and it improves your chances of pointing up something about the text which none of the other essays your marker is reading will have said. For instance, take In Memoriam  (1850), which is a long Victorian poem by the poet Alfred, Lord Tennyson about his grief following the death of his close friend, Arthur Hallam, in the early 1830s.

When answering a question about the representation of religious faith in Tennyson’s poem  In Memoriam  (1850), how might you write a particularly brilliant essay about this theme? Anyone can make a general point about the poet’s crisis of faith; but to look closely at the language used gives you the chance to show  how the poet portrays this.

For instance, consider this stanza, which conveys the poet’s doubt:

A solid and perfectly competent essay might cite this stanza in support of the claim that Tennyson is finding it increasingly difficult to have faith in God (following the untimely and senseless death of his friend, Arthur Hallam). But there are several ways of then doing something more with it. For instance, you might get close to the poem’s imagery, and show how Tennyson conveys this idea, through the image of the ‘altar-stairs’ associated with religious worship and the idea of the stairs leading ‘thro’ darkness’ towards God.

In other words, Tennyson sees faith as a matter of groping through the darkness, trusting in God without having evidence that he is there. If you like, it’s a matter of ‘blind faith’. That would be a good reading. Now, here’s how to make a good English essay on this subject even better: one might look at how the word ‘falter’ – which encapsulates Tennyson’s stumbling faith – disperses into ‘falling’ and ‘altar’ in the succeeding lines. The word ‘falter’, we might say, itself falters or falls apart.

That is doing more than just interpreting the words: it’s being a highly careful reader of the poetry and showing how attentive to the language of the poetry you can be – all the while answering the question, about how the poem portrays the idea of faith. So, read and then reread the text you’re writing about – and be sensitive to such nuances of language and style.

The best way to  become attuned to such nuances is revealed in point 5. We might summarise this point as follows: when it comes to knowing how to write a persuasive English Literature essay, it’s one thing to have a broad and overarching argument, but don’t be afraid to use the  microscope as well as the telescope.

3. Provide several pieces of evidence where possible.

Many essays have a point to make and make it, tacking on a single piece of evidence from the text (or from beyond the text, e.g. a critical, historical, or biographical source) in the hope that this will be enough to make the point convincing.

‘State, quote, explain’ is the Holy Trinity of the Paragraph for many. What’s wrong with it? For one thing, this approach is too formulaic and basic for many arguments. Is one quotation enough to support a point? It’s often a matter of degree, and although one piece of evidence is better than none, two or three pieces will be even more persuasive.

After all, in a court of law a single eyewitness account won’t be enough to convict the accused of the crime, and even a confession from the accused would carry more weight if it comes supported by other, objective evidence (e.g. DNA, fingerprints, and so on).

Let’s go back to the example about Tennyson’s faith in his poem  In Memoriam  mentioned above. Perhaps you don’t find the end of the poem convincing – when the poet claims to have rediscovered his Christian faith and to have overcome his grief at the loss of his friend.

You can find examples from the end of the poem to suggest your reading of the poet’s insincerity may have validity, but looking at sources beyond the poem – e.g. a good edition of the text, which will contain biographical and critical information – may help you to find a clinching piece of evidence to support your reading.

And, sure enough, Tennyson is reported to have said of  In Memoriam : ‘It’s too hopeful, this poem, more than I am myself.’ And there we have it: much more convincing than simply positing your reading of the poem with a few ambiguous quotations from the poem itself.

Of course, this rule also works in reverse: if you want to argue, for instance, that T. S. Eliot’s  The Waste Land is overwhelmingly inspired by the poet’s unhappy marriage to his first wife, then using a decent biographical source makes sense – but if you didn’t show evidence for this idea from the poem itself (see point 2), all you’ve got is a vague, general link between the poet’s life and his work.

Show  how the poet’s marriage is reflected in the work, e.g. through men and women’s relationships throughout the poem being shown as empty, soulless, and unhappy. In other words, when setting out to write a good English essay about any text, don’t be afraid to  pile on  the evidence – though be sensible, a handful of quotations or examples should be more than enough to make your point convincing.

4. Avoid tentative or speculative phrasing.

Many essays tend to suffer from the above problem of a lack of evidence, so the point fails to convince. This has a knock-on effect: often the student making the point doesn’t sound especially convinced by it either. This leaks out in the telling use of, and reliance on, certain uncertain  phrases: ‘Tennyson might have’ or ‘perhaps Harper Lee wrote this to portray’ or ‘it can be argued that’.

An English university professor used to write in the margins of an essay which used this last phrase, ‘What  can’t be argued?’

This is a fair criticism: anything can be argued (badly), but it depends on what evidence you can bring to bear on it (point 3) as to whether it will be a persuasive argument. (Arguing that the plays of Shakespeare were written by a Martian who came down to Earth and ingratiated himself with the world of Elizabethan theatre is a theory that can be argued, though few would take it seriously. We wish we could say ‘none’, but that’s a story for another day.)

Many essay-writers, because they’re aware that texts are often open-ended and invite multiple interpretations (as almost all great works of literature invariably do), think that writing ‘it can be argued’ acknowledges the text’s rich layering of meaning and is therefore valid.

Whilst this is certainly a fact – texts are open-ended and can be read in wildly different ways – the phrase ‘it can be argued’ is best used sparingly if at all. It should be taken as true that your interpretation is, at bottom, probably unprovable. What would it mean to ‘prove’ a reading as correct, anyway? Because you found evidence that the author intended the same thing as you’ve argued of their text? Tennyson wrote in a letter, ‘I wrote In Memoriam  because…’?

But the author might have lied about it (e.g. in an attempt to dissuade people from looking too much into their private life), or they might have changed their mind (to go back to the example of  The Waste Land : T. S. Eliot championed the idea of poetic impersonality in an essay of 1919, but years later he described  The Waste Land as ‘only the relief of a personal and wholly insignificant grouse against life’ – hardly impersonal, then).

Texts – and their writers – can often be contradictory, or cagey about their meaning. But we as critics have to act responsibly when writing about literary texts in any good English essay or exam answer. We need to argue honestly, and sincerely – and not use what Wikipedia calls ‘weasel words’ or hedging expressions.

So, if nothing is utterly provable, all that remains is to make the strongest possible case you can with the evidence available. You do this, not only through marshalling the evidence in an effective way, but by writing in a confident voice when making your case. Fundamentally, ‘There is evidence to suggest that’ says more or less the same thing as ‘It can be argued’, but it foregrounds the  evidence rather than the argument, so is preferable as a phrase.

This point might be summarised by saying: the best way to write a good English Literature essay is to be honest about the reading you’re putting forward, so you can be confident in your interpretation and use clear, bold language. (‘Bold’ is good, but don’t get too cocky, of course…)

5. Read the work of other critics.

This might be viewed as the Holy Grail of good essay-writing tips, since it is perhaps the single most effective way to improve your own writing. Even if you’re writing an essay as part of school coursework rather than a university degree, and don’t need to research other critics for your essay, it’s worth finding a good writer of literary criticism and reading their work. Why is this worth doing?

Published criticism has at least one thing in its favour, at least if it’s published by an academic press or has appeared in an academic journal, and that is that it’s most probably been peer-reviewed, meaning that other academics have read it, closely studied its argument, checked it for errors or inaccuracies, and helped to ensure that it is expressed in a fluent, clear, and effective way.

If you’re serious about finding out how to write a better English essay, then you need to study how successful writers in the genre do it. And essay-writing is a genre, the same as novel-writing or poetry. But why will reading criticism help you? Because the critics you read can show you how to do all of the above: how to present a close reading of a poem, how to advance an argument that is not speculative or tentative yet not over-confident, how to use evidence from the text to make your argument more persuasive.

And, the more you read of other critics – a page a night, say, over a few months – the better you’ll get. It’s like textual osmosis: a little bit of their style will rub off on you, and every writer learns by the examples of other writers.

As T. S. Eliot himself said, ‘The poem which is absolutely original is absolutely bad.’ Don’t get precious about your own distinctive writing style and become afraid you’ll lose it. You can’t  gain a truly original style before you’ve looked at other people’s and worked out what you like and what you can ‘steal’ for your own ends.

We say ‘steal’, but this is not the same as saying that plagiarism is okay, of course. But consider this example. You read an accessible book on Shakespeare’s language and the author makes a point about rhymes in Shakespeare. When you’re working on your essay on the poetry of Christina Rossetti, you notice a similar use of rhyme, and remember the point made by the Shakespeare critic.

This is not plagiarising a point but applying it independently to another writer. It shows independent interpretive skills and an ability to understand and apply what you have read. This is another of the advantages of reading critics, so this would be our final piece of advice for learning how to write a good English essay: find a critic whose style you like, and study their craft.

If you’re looking for suggestions, we can recommend a few favourites: Christopher Ricks, whose  The Force of Poetry is a tour de force; Jonathan Bate, whose  The Genius of Shakespeare , although written for a general rather than academic audience, is written by a leading Shakespeare scholar and academic; and Helen Gardner, whose  The Art of T. S. Eliot , whilst dated (it came out in 1949), is a wonderfully lucid and articulate analysis of Eliot’s poetry.

James Wood’s How Fiction Works  is also a fine example of lucid prose and how to close-read literary texts. Doubtless readers of  Interesting Literature will have their own favourites to suggest in the comments, so do check those out, as these are just three personal favourites. What’s your favourite work of literary scholarship/criticism? Suggestions please.

Much of all this may strike you as common sense, but even the most commonsensical advice can go out of your mind when you have a piece of coursework to write, or an exam to revise for. We hope these suggestions help to remind you of some of the key tenets of good essay-writing practice – though remember, these aren’t so much commandments as recommendations. No one can ‘tell’ you how to write a good English Literature essay as such.

But it can be learned. And remember, be interesting – find the things in the poems or plays or novels which really ignite your enthusiasm. As John Mortimer said, ‘The only rule I have found to have any validity in writing is not to bore yourself.’

Finally, good luck – and happy writing!

And if you enjoyed these tips for how to write a persuasive English essay, check out our advice for how to remember things for exams  and our tips for becoming a better close reader of poetry .

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30 thoughts on “How to Write a Good English Literature Essay”

You must have taken AP Literature. I’m always saying these same points to my students.

I also think a crucial part of excellent essay writing that too many students do not realize is that not every point or interpretation needs to be addressed. When offered the chance to write your interpretation of a work of literature, it is important to note that there of course are many but your essay should choose one and focus evidence on this one view rather than attempting to include all views and evidence to back up each view.

Reblogged this on SocioTech'nowledge .

Not a bad effort…not at all! (Did you intend “subject” instead of “object” in numbered paragraph two, line seven?”

Oops! I did indeed – many thanks for spotting. Duly corrected ;)

That’s what comes of writing about philosophy and the subject/object for another post at the same time!

Reblogged this on Scribing English .

• Pingback: Recommended Resource: Interesting Literature.com & how to write an essay | Write Out Loud

Great post on essay writing! I’ve shared a post about this and about the blog site in general which you can look at here: http://writeoutloudblog.com/2015/01/13/recommended-resource-interesting-literature-com-how-to-write-an-essay/

All of these are very good points – especially I like 2 and 5. I’d like to read the essay on the Martian who wrote Shakespeare’s plays).

Reblogged this on Uniqely Mustered and commented: Dedicate this to all upcoming writers and lovers of Writing!

I shall take this as my New Year boost in Writing Essays. Please try to visit often for corrections,advise and criticisms.

Reblogged this on Blue Banana Bread .

Reblogged this on worldsinthenet .

All very good points, but numbers 2 and 4 are especially interesting.

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Reblogged this on rainniewu .

Reblogged this on pixcdrinks .

• Pingback: How to Write a Good English Essay? Interesting Literature | EngLL.Com

Great post. Interesting infographic how to write an argumentative essay http://www.essay-profy.com/blog/how-to-write-an-essay-writing-an-argumentative-essay/

Reblogged this on DISTINCT CHARACTER and commented: Good Tips

Reblogged this on quirkywritingcorner and commented: This could be applied to novel or short story writing as well.

Reblogged this on rosetech67 and commented: Useful, albeit maybe a bit late for me :-)

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A well rounded summary on all steps to keep in mind while starting on writing. There are many new avenues available though. Benefit from the writing options of the 21st century from here, i loved it! http://authenticwritingservices.com

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Writing A Literary Analysis Essay

• Library Resources
• Books & EBooks
• What is an Literary Analysis?
• Literary Devices & Terms
• Creating a Thesis Statement This link opens in a new window
• Using quotes or evidence in your essay
• APA Format This link opens in a new window
• MLA Format This link opens in a new window
• OER Resources
• Copyright, Plagiarism, and Fair Use

Video Links

Elements of a short story, Part 1

YouTube video

Elements of a short story, Part 2

online tools

Collaborative Mind Mapping  – collaborative brainstorming site

Sample Literary Analysis Essay Outline 

Paper Format and Structure

Analyzing Literature and writing a Literary Analysis

Literary Analysis are written in the third person point of view in present tense. Do not use the words I or you in the essay. Your instructor may have you choose from a list of literary works read in class or you can choose your own. Follow the required formatting and instructions of your instructor.

Writing & Analyzing process

First step: Choose a literary work or text. Read & Re-Read the text or short story. Determine the key point or purpose of the literature

Step two: Analyze key elements of the literary work. Determine how they fit in with the author's purpose.

Step three: Put all information together. Determine how all elements fit together towards the main theme of the literary work.

Step four: Brainstorm a list of potential topics. Create a thesis statement based on your analysis of the literary work. 

Step five: search through the text or short story to find textual evidence to support your thesis. Gather information from different but relevant sources both  from the text itself and other  secondary  sources to help to prove your point. All evidence found will be quoted and analyzed throughout your essay to help explain your argument to the reader. 

Step six: Create and outline and begin the rough draft of your essay. 

Step seven: revise and proofread. Write the final draft of essay

Step eight: include a reference or works cited page at the end of the essay and include in-text citations.

When analyzing a literary work pay close attention to the following:

Characters:  A  character  is a person, animal, being, creature, or thing in a story. 

• Protagonist : The main character of the story
• Antagonist : The villain of the story
• Love interest : the protagonist’s object of desire.
• Confidant : This type of character is the best friend or sidekick of the protagonist
• Foil  – A foil is a character that has opposite character traits from another character and are meant to help highlight or bring out another’s positive or negative side.
• Flat  – A flat character has one or two main traits, usually only all positive or negative.
• Dynamic character : A dynamic character is one who changes over the course of the story.
• Round character : These characters have many different traits, good and bad, making them more interesting.
• Static character : A static character does not noticeably change over the course of a story.
• Symbolic character : A symbolic character represents a concept or theme larger than themselves.
• Stock character : A stock character is an ordinary character with a fixed set of personality traits.

Setting:  The  setting  is the period of time and geographic location in which a  story  takes place.

Plot:   a literary term used to describe the events that make up a story

Theme:   a universal idea, lesson, or message explored throughout a work of literature. 

Dialogue:  any communication between two characters

Imagery:  a literary device that refers to the use of figurative language to evoke a sensory experience or create a picture with words for a reader.

Figures of Speech:  A word or phrase that is used in a non-literal way to create an effect. 

Tone: A literary device that reflects the writer's attitude toward the subject matter or audience of a literary work.

rhyme or rhythm:  Rhyme is a literary device, featured particularly in poetry, in which identical or similar concluding syllables in different words are repeated. Rhythm can be described as the beat and pace of a poem

Point of view:  the narrative voice through which a story is told.

• Limited –  the narrator sees only what’s in front of him/her, a spectator of events as they unfold and unable to read any other character’s mind.
• Omniscient –  narrator sees all. He or she sees what each character is doing and can see into each character’s mind. 
• Limited Omniscient – narrator can only see into one character’s mind. He/she might see other events happening, but only knows the reasons of one character’s actions in the story.
• First person: You see events based on the character telling the story
• Second person: The narrator is speaking to you as the audience

Symbolism:   a literary device in which a writer uses one thing—usually a physical object or phenomenon—to represent something else.

Irony:  a literary device in which contradictory statements or situations reveal a reality that is different from what appears to be true.

Ask some of the following questions when analyzing literary work:

• Which literary devices were used by the author?
• How are the characters developed in the content?
• How does the setting fit in with the mood of the literary work?
• Does a change in the setting affect the mood, characters, or conflict?
• What point of view is the literary work written in and how does it effect the plot, characters, setting, and over all theme of the work?
• What is the over all tone of the literary work? How does the tone impact the author’s message?
• How are figures of speech such as similes, metaphors, and hyperboles used throughout the text?
• When was the text written? how does the text fit in with the time period?

Creating an Outline

A literary analysis essay outline is written in standard format: introduction, body paragraphs, and conclusion. An outline will provide a definite structure for your essay.

I. Introduction: Title

A. a hook statement or sentence to draw in readers

B. Introduce your topic for the literary analysis. 

• Include some background information that is relevant to the piece of literature you are aiming to analyze.

C. Thesis statement: what is your argument or claim for the literary work.

II. Body paragraph

A. first point for your analysis or evidence from thesis

B.  textual evidence   with explanation of how it proves your point

III. second evidence from thesis

A. textual evidence   with explanation of how it proves your point  

IV. third evidence from thesis

V. Conclusion

A. wrap up the essay

B. restate the argument and why its important

C. Don't add any new ideas or arguments

VI: Bibliography: Reference or works cited page

End each body paragraph in the essay with a transitional sentence. 

Links & Resources

Literary Analysis Guide

Discusses how to analyze a passage of text to strengthen your discussion of the literature.

The Writing Center @ UNC-Chapel Hill

Excellent handouts and videos around key writing concepts. Entire section on Writing for Specific Fields, including Drama, Literature (Fiction), and more. Licensed under CC BY NC ND (Creative Commons - Attribution - NonCommercial - No Derivatives).

Creating Literary Analysis (Cordell and Pennington, 2012) – LibreTexts

Resources for Literary Analysis Writing 

Some free resources on this site but some are subscription only

Students Teaching English Paper Strategies 

The Internet Public Library: Literary Criticism

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Essay 3: A How-To Guide

What makes an effective researched argument.

Goal: The goal of any literary research paper is to add an original interpretation to a scholarly conversation about a literary text. Take a look at how rhetorical and literary theorist Kenneth Burke describes all acts of researched writing:

Imagine that you enter a parlor. You come late. When you arrive, others have long preceded you, and they are engaged in a heated discussion, a discussion too heated for them to pause and tell you exactly what it is about. In fact, the discussion had already begun long before any of them got there, so that no one present is qualified to retrace for you all the steps that had gone before. You listen for a while, until you decide that you have caught the tenor of the argument; then you put in your oar. Someone answers; you answer him; another comes to your defense; another aligns himself against you, to either the embarrassment or gratification of your opponent, depending upon the quality of your ally’s assistance. However, the discussion is interminable. The hour grows late, you must depart. And you do depart, with the discussion still vigorously in progress. [1] [2]

In a researched argument, you should:

• Establish the scholarly conversation that you are entering.
• Engage in debate with other scholars by analyzing the literary text
• Form an original interpretation about the literary text through close reading

Introductions

• Develops an interpretive or intellectual problem—either drawn from research into how other scholars have interpreted the poem or short story or drawn from a detail in the story itself that bears some tension, irony, ambiguity, or disjunction that connects to a larger scholarly conversation.
• Adds new evidence
• Adds a new interpretation
• Disagrees with a previous interpretation

Sample Introductions

The Introduction should accomplish four steps:

• Establish an Interpretive Problem: Observe the juxtaposing elements in the story that have caused an interpretive gap or tension and establish the significance of these elements.
• Describe a Major Interpretive Debate: Describe, in a couple of sentences, how various scholars have approached this text, genre, or work from this poet/time period. What problems have emerged in writing about this exhibit? What conversation are you joining?
• Thesis Statement: After reviewing the previous scholarship, state your claim. What are you arguing in this paper?
• Road Map: How are you going to support your argument? What’s the layout for this paper?

Take a look at the sample introductions from Laura Wilder and Joanna Wolfe’s  Digging into Literature.  [3]   Where/How does this introduction accomplish each of these four steps?

Schwab, Melinda. “A Watch for Emily.” Studies in Short Fiction 28.2 (1991): 215-17.

The critical attention given to the subject of time in Faulkner most certainly fills as many pages as the longest novel of Yoknapatawpha County. A goodly number of those pages of criticism deal with the well-known short story, “A Rose for Emily.” Several scholars, most notably Paul McGlynn, have worked to untangle the confusing chronology of this work (461-62). Others have given a variety of symbolic and psychological reasons for Emily Grierson’s inability (or refusal) to acknowledge the passage of time. Yet in all of this careful literary analysis, no one has discussed one troubling and therefore highly significant detail. When we first meet Miss Emily, she carries in a pocket somewhere within her clothing an “invisible watch ticking at the end of [a] gold chain” (Faulkner 121). What would a woman like Emily Grierson, who seems to us fixed in the past and oblivious to any passing of time, need with a watch? An awareness of the significance of this watch, however, is crucial for a clear understanding of Miss Emily herself. The watch’s placement in her pocket, its unusually loud ticking, and the chain to which it is attached illustrate both her attempts to control the passage of years and the consequences of such an ultimately futile effort (215).

Fick, Thomas, and Eva Gold. “’He Liked Men’: Homer, Homosexuality, and the Culture of Manhood in Faulkner’s ‘A Rose for Emily.’” Eureka Studies in Teaching Short Fiction 8.1 (2007): 99-107.

Over the last few years critics have discussed homosexuality in Faulkner’s “A Rose for Emily,” one of Faulkner’s most frequently anthologized works and a mainstay of literature classes at all levels. Hal Blythe, for example, asserts outright that Homer Barron is gay, while in a more nuanced reading James Wallace argues that the narrator merely wishes to suggest that Barron is homosexual in order to implicate the reader in a culture of gossip (Blythe 49-50; Wallace 105-07). Both readings rest on this comment by the narrator: “Then we said, ‘She will persuade him yet,’ because Homer himself had remarked—he liked men, and it was known that he drank with the younger men at the Elks’ Club—that he was not a marrying man” (Faulkner 126)…While we agree that the narrator’s comment suggests something important about Homer’s sexual orientation, in contrast with Blythe we believe that it says Homer is combatively heterosexual.

• Engages in conversation with literary scholars throughout the essay, showing how their interpretation affirms, contrasts, contradicts and resolves the interpretive problem posed by literary scholars.
• Uses contextual and argumentative sources to support and challenge their analysis of the text.
• Uses close reading strategies to deeply analyze the literary text.
• Resolves the interpretive problem through a deep analysis of the text.

Conclusion:

• Discuss the significance of their analysis to the research being done on that area of literary study.
• Identify one question or problem that still remains for the field of scholarship on the subject.

Sample Researched Argument

The White Gaze in “On Being Brought from Africa to America”

Paragraph 1

Phillis Wheatley was born in West Africa, captured at a young age, and sold into slavery. Despite the violent history that she lives through, her poem “On Being Brought from Africa to America” opens by expressing gratitude towards a system only referred to in the poem as “mercy.” Due to this discrepancy between the violent history she lives through and the evangelical understanding of that history expressed in the poem, critics have long questioned whether her poetry is a true expression of herself. No one tells the story of Wheatley’s legacy better than Henry Louis Gates, Jr. who, in his article “Phillis Wheatley on Trial,” describes how the Black Nationalist movement zeroed in on “On Being Brought from Africa to America” because there was no outcry in the poem—no objection to being brought to America. The poem was absent of the longing to return back to Africa that the Black Nationalist movement invested in (Gates 87). These critics also decried her poetic style, which imitated White, Enlightenment poets like Alexander Pope (Baraka, Barnum, and Thurman, as cited in Gates 87). Despite this backlash to Wheatley’s poetry, the authenticity of her work remains hotly debated today. Debates over her poetry were revived in the 80’s/90’s when scholars like William J. Scheik, Sondra O’Neale, James Levernier, and Mark Edelman Boren began to document how the biblical allusions and metaphors of her poetry, when read closely, were more subversive than appeared on first glance. This is how Wheatley has continued to be read today, with scholars questioning to what extent her subversions were explicit enough to change the cultural landscape of eighteenth-century America.

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This paper will argue that the binary readings of Wheatley presented—one in which she is an “Uncle Tom figure” (Gross, as cited in Gates 87) and another in which she is a subversive, revolutionary poet (Levernier)—are both self-consciously represented by Wheatley in the poem. The poem is an example of early discussions of Black identity formation, one in which she is locked into two modes of being: gratitude and resistance. We will start by looking at the most contentious aspects of the poem—the gratitude for Christianity. Looking at the rhetorical construction of the speaker/reader relationship, we will uncover how the poem imagines her White, Christian reader and, in turn, how that White, Christian reader imagines her subjectivity. Following, we will then look at the allusions to the Transatlantic Slave Trade to affirm that these allusions demonstrate the subversiveness of her poetry. Subversive both in demonstrating the White reader’s understanding of her diasporic identity and in showcasing the fluidity of that identity in its early formation.

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Arguments against reading Wheatley in a subversive light hinge on the evangelical Christian sentiments that open the first lines, particularly the idea that Africa consists of a “pagan land.” As Henry Louis Gates discusses, for Black nationalist thinkers, her description of her African origins as a “pagan” place was a rejection of her Black identity, an attempt to assimilate to her white readership. However, these opening lines are particularly interesting because of the pronoun usage in the opening lines. The opening line says, “’Twas mercy brought me from my Pagan land,” (Wheatley 1). While on the surface the line looks like a benign Christian gratitude for salvation, the pronoun usage in these early lines suggests an alienation that Wheatley feels between herself and her African origins. She has been “brought,” perhaps we might imagine “removed” from her land. The disjunction between “me” and “my pagan land,” suggests a fundamental bifurcation of the self that begins the poem. In many accounts of Wheatley’s Black identity, she is conceived to be assimilationist because her poem suggests, “ludicrous [departure] from the huge black voices that splintered southern nights with their hollers, chants, arwhoolies, and ballits,” (Baraka, as cited in Gates 87). But, I want to suggest that the bifurcation of the self that begins the poem, which initially may look like an assimilationist rejection of Africa—is actually a meditation on how the transatlantic slave trade has shaped her identity—an early example of Du Bois’s “double consciousness” of African-American identities.

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As many scholars have noted, the poem seems to subversively contend with her relationship with evangelical Christianity, which we may note was a condition of her education. The reference to “mercy” in the first line is particularly troubling—as we know that it was not mercy, but the transatlantic slave trade that brought her to the U.S. How are we to read this reference to mercy? Are we to read it as a moment of cognitive dissonance between Wheatley’s understanding of her history and herself? Are we to read it as an imitation of forms of poetry that she was reading as part of her education? I suggest that we read it as ironic. In both of the interpretations mentioned above, there is a fundamental tension between the reader’s awareness and, supposedly, Wheatley’s awareness. In fact, the title page of the original publication announces that she was a “servant to John Wheatley”—the 18th century reader would have been well-aware of the implications of this position of servitude, would have been aware of the conditions of life that brought Africans to the U.S. Rather than looking at this line for absence of reference to the transatlantic slave trade, I think we should attend to the passivity of the line—the lack of agency she expresses in this opening of the poem. The passive construction of the sentence gives agency to mercy rather than any singular person for the double-consciousness that she is expressing in the rest of the line. It is because of this passivity that she is able to call the land “pagan,” the italicization of which suggests irony. In fact, Mark Edelman Boren suggests that stress is being put on the term pagan in order to undercut the conventional association between the idea of Africa as a pagan landscape and the Africa that Wheatley comes from (45). In this opening line, Wheatley seems to be undercutting the conventional notions that the reader might have of African poets—undercutting the idea that they are grateful for the violence being inflicted on them.

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This passive construction continues to influence Wheatley’s perception of herself in the next line of the poem: “Taught my benighted soul to understand” (2). Based on the claims I’ve made in the previous paragraphs, we can trust that Wheatley has already unmoored the reader’s associations between both: the evangelical conception that the transatlantic slave trade was founded on benevolence and the association between Africa and paganism. The poem continues to make her identity the focus of the poem. In this line, she is now thinking about her “benighted soul.” While we may look at the denotative definition of this line and think that it suggests that her soul was lacking of the opportunity to be saved before she was enslaved, we might also continue to look at the passive construction of this definition. Wheatley uses the term benighted because, while suggesting that she lacked the opportunity to be saved, it also suggests that the lack of opportunity was bestowed on her by another force or person. There is an external influence shaping Wheatley’s identity in the poem—perhaps, that of the reader. As James Levernier notes, despite, or because of, the reader’s awareness of the horrors of the transatlantic slave trade, the poem would not have been published if Wheatley expressed explicit protest of the conditions of her enslavement (174). At the same time, this passive construction as well as the irony in these opening lines suggests that Wheatley is self-consciously aware of the suppression of her ideas brought about by the presence of the reader. As she constructs the image of herself as a poet, she has to remove herself from her African origins, has to invest in the gratitude conditioned by evangelical Christianity, has to alienate herself from the consciousness of her enslaved condition.

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In other words, our reading of the first two lines of the poem suggests that this poem is actually about her identity as a Black poet. In W.E.B. DuBois’s “Strivings of the Negro People,”, he describes “double-consciousness” as “this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity.” In the first two lines of the poem, we see the measurements of White evangelical Christianity—with its expectation that an African poet is grateful for her servitude—being ironically unsettled by Wheatley. If we look at the pattern of pronouns being used throughout the poem, we can see a self-consciousness in the first half of her octave, with a consistent attention on “me…my land…my benighted soul…I…” (1, 2, 4). Then, in the second half of the poem, as Wheatley shifts from a discussion of Christianity to a more overt discussion of the perceptions of Africans, her pronouns shift as well: “Our…Their…Christians…” (5-7). While the first half of the poem may look assimilationist, the second half of the poem showcases a conscious alignment with an African race. She is, as DuBois writes “an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body.”

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In the opening lines of the poem, Wheatley seems to be contesting the White reader’s idea that the Black poet, Black person, is ultimately grateful for their condition. In the second half of the poem, her task is to define the Black identity. As she tries to do so, she realizes that she is limited by the terms given to her by the White Christian establishment. In the final lines of the poem, she writes, “Remember, Christians, Negros, black as Cain,/May be refin’d, and join th’ angelic train” (7-8). It is here that we get our first references to the transatlantic slave trade, if we choose to read them that way. The final line describes the condition of reformed Black Christians as “refin’d” an oddly classed word to use if we perceive that line as depicting the conversion of Christians (8). However, the word would also have been used as a reference to the process of ‘refining sugar,’ a process by which manufacturers remove impurities and color from the unprocessed cane. Given its most popular usage in the eighteenth century, I suspect that the eighteenth century reader would have associated the word “refined” with sugar manufacturing (“Refine, V.”). Levernier also notes that these words had already taken on the association with these industries in Quaker circles—that is, circles that sought to abolish slavery it the Americas (182). Upon further looking at the language of the last two lines, we may also see the simile “black as Cain” as contributing to our imagination that she is referring to sugar (7). While she is making a biblical allusion to the more violent of Cain and Abel, the homophone also makes the allusion to sugar cane, which is black in nature. By looking carefully at the language she is using, we can see that her description of the religious system of conversion is also an allusion to the process of refining sugar. As White Christians take indigenous people and convert them to Christianity, so too do enslaved Africans farm black cane and refine it into white sugar. In these final lines of the poem, Wheatley seems to acknowledge that the language of Christianity can’t escape the slave trade. As a poet and author, neither can she.

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As Wheatley tries to define and articulate a Black identity, she finds herself limited by the language of the transatlantic slave trade. In other words, we can read her poem as an articulation of the ways Black identity becomes founded on the violence of the transatlantic slave trade. While the reference to the sugar refinement process is her most referenced subversive metaphor, she also refers to her Black-ness as a “die” and the race itself as “sable.” In other words, when Wheatley constructs race, she does it under the metaphors of the valuable industrial trades: either a dye used for clothing or a valuable fur. We can read these metaphors in two complementary respects. First, the metaphors are skin-based, suggesting that this early social construction of race is partially based on skin color. Second, the metaphors are both references to a violent process enacted on an object that is then likened to violence being perpetuated on the bodies of African slaves—either through the burning of skin as a result of the dying process or the skinning of an animal. As Gates notes, Seymour Gross has said that Wheatley was a “perfect Uncle Tom Figure” (87). However, this ironic use of dialogue suggests otherwise. This suggests that, while criticizing the White reader’s perception of Black writers, she also must criticize the transatlantic slave trade, for limiting her ability to articulate Black identity in the first place.

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In other words, we may re-read Wheatley’s poem as an early articulation of Black diasporic identities. In Michelle Wright’s Becoming Black: Creating Identity in the African Diaspora , she discusses the difficulties of expressing diasporic identities in Western literature. “On one end stands the…hypercollective, essentialist identity, which provides comfort of absolutist assertions in exchange for the total annihilation of self…” she writes. “On the other end stands the hyperindividual identity…which grants a hyperindividualized self in exchange for the annihilation of ‘Blackness’ as a collective term” (2). Wheatley’s poem seems to be straddling these two identity positions—one in which her individuality as a poet, something she is praised for in the opening advertisement of her 1773 volume of poetry, is founded on a rejection of her African heritage and one in which she can be Black, but must be perceived as part of a “diabolic” or “sable” race. Looking back at my own analysis of this poem, it seems Wheatley is limited by these dual conceptions of her identity. However, I think the poem ultimately represents an act of liberation: by self-consciously examining the limitations placed on her by the transatlantic slave trade and Christianity’s role in perpetuating the ideologies of slavery, she is able to express a fundamental tenet of Black oppression—the inability to exist outside of socially constructed categories of being.

Works Cited

Boren, Mark Edelman. “A Fiery Furnace and a Sugar Train: Metaphors That Challenge the

Legacy of Phillis Wheatley’s ‘On Being Brought from Africa to America.’” CEA Critic ,

vol. 67, no. 1, 2004, pp. 38–56.

Du Bois, W. E. B. “Strivings of the Negro People.” The Atlantic, Aug. 1987,

https://www.theatlantic.com/magazine/archive/1897/08/strivings-of-the-negro-people/305446/ . Accessed 12 Aug. 2023.

Gates Jr., Henry Louis. “Phillis Wheatley on Trial.” The New Yorker, 20 Jan. 2003, pp. 82-87.

Levernier, James A. “Style as Protest in the Poetry of Phillis Wheatley.” Style , vol. 27, no. 2,

1993, pp. 172–93. JSTOR, http://www.jstor.org/stable/42946037. Accessed 12 Aug. 2023.

“Refine, V.” Oxford English Dictionary, Oxford UP, March 2024, https://doi.org/10.1093/OED/1053806037.

Wheatley, Phillis. “On Being Brought from Africa to America.” Penguin Book of Migration 

Literature , edited by Dohra Ahmad, Penguin, 2019.

—. Poems on Various Subjects, Religious and Moral . London, A. Bell, 1773.

Wright, Michelle. Becoming Black: Creating Identity in the African Diaspora . Duke UP, 2004.

• Burke, Kenneth. The Philosophy of Literary Form: Studies in Symbolic Action . Louisiana State UP, 1941. ↵
• Wilder, Laura, and Joanna Wolfe. Digging into Literature. Bedford/St. Martin’s, 2016, 222-226. ↵

Writing About Literature Copyright © by Sarah Guayante is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Module 10: Working with Literature

Writing about literature, learning objectives.

Create an effective plan for a literary analysis essay

Plan an Effective Structure

One common misconception students entertain when they approach literary analysis essays is the idea that the structure of the essay should follow the structure of the literary work. The events of short stories, novels, and plays are often related chronologically (in the order the fictional events happened), but it can be awkward to write a literary analysis using the story’s chronology as a basic structure for your own essay. Often, this approach leads to an essay that simply summarizes the literary work. Since a literary analysis paper should avoid summary for summary’s sake, the writer should avoid an essay structure that results in that pattern: And then Brett goes to San Sebastian with Robert Cohn, and then she returns in time to meet her fiancé Mike Campbell, and then…

If chronology is not the primary structural factor in setting up your paper, then what is? Consider the following hints in planning your paper’s structure:

• What are your major points? What exactly do you want to say about the literary work? These should form the major organizing components of your essay.
• What order will  most effectively lead the reader to your perspective on the subject? How can you best orient and draw the reader in with your introduction, body paragraphs, and conclusion? What final point in the essay’s body will help to “clinch” the overall argument or end it “with a bang,” just before the conclusion reiterates the overarching argument in the essay’s final lines?
• Paragraph breaks should (a) cue the reader about shifts in focus, and (b) break down ideas into small enough chunks that the reader doesn’t lose sight of the currently emphasized point. But having said that, bear in mind that in an academic essay, the paragraphs should not seem “choppy.” Instead, each should be long enough to develop its point thoroughly before shifting to the next.

You can write your essay by examining only the primary source text (the literary work itself), or you may integrate into your argument some secondary sources in the form of perspectives from other scholars, as discussed in a previous module. Regardless, your own findings from your analysis of the primary text should be the priority in your interpretation of the work. For more on this point, see the section on Literary Criticism.

Incorporate Sufficient Textual Evidence

Just as scientists provide data to support their results, literary critics must use evidence from literature in order to convince their audience that they have a cogent argument. Evidence must be provided in every body paragraph in order to support your claims. We already talked about this in the section on forming your perspective about your topic. Now it’s time to consider this in a bit more depth, as the planning stage is where you’ll select the specific textual evidence that you plan to use in your essay.

Where will you find such evidence? First, as you already know, you must do a close reading of the text. It’s much easier to first analyze and think about how the smaller literary elements work together to create the whole work, rather than randomly thumbing through a work to find support for your thesis. When you provide evidence, you are providing proof from the text that shows your audience that your thesis is valid.

Critics most commonly provide evidence by quoting, paraphrasing, or summarizing a line or a passage from a work. When you provide evidence, it is imperative not to take it out of context. For example, if a character is joking with another character that he will kill himself if he fails his chemistry test, and there’s no other mention of death in the work, it would be unfair to represent this character as suicidal by eliminating the context of him joking. Accurately quoting and fairly representing events, characters, and so on adds to your credibility as a writer.

If you find evidence that counters your thesis, you should still engage with it. Think about what your critics would say, and come up with a response to show how that particular piece of evidence might still support your stance.

Once you’re done gathering evidence, you can move on to the analysis portion, in which you explain how the evidence supports your claims.

We mention this matter of evidence in relation to devising an effective structure for your essay because it’s at this point that you will want to plan how and where you will incorporate relevant textual evidence into your essay. You might want to copy specific passages from the literary work into a notebook or word processing file to keep track of them. One traditional method that has worked well for many students in literature classes is to write down passages that you intend to use as evidence onto separate index cards or sticky notes. In this form, they’re easily rearrangeable so that you can experiment with putting them in different hypothetical orders and deciding which evidence you’ll incorporate into which sections. Of course, you can easily rearrange saved passages in a word processing document, too. Some people just find that getting these things off the computer screen and physically into their hands on paper helps to increase their sense of real engagement with the words and ideas. Regardless of the practical approach you adopt, now is the time to identify and select the evidence that you’ll use to make your argument. You’ll make use of this evidence when you write your draft.

Organization

Every paper must contain an  introduction  (which states the argumentative thesis),  subsequent argument paragraphs , and a  conclusion .

Introductory Paragraph

As Janet E. Gardner writes in  Writing About Literature , “Essentially, and introduction accomplishes two things. First, it gives a sense of both your topic and your approach to that topic, which is why it is common to make your thesis statement a part of the introduction. Second, an introduction compels your readers’ interest and makes them want to read on and find out what your paper has to say. Some common strategies used in effective introductions are to begin with a probing rhetorical question, a vivid description, or an intriguing quotation. Weak introductions tend to speak in generalities or in philosophical ideas that are only tangentially related to the real topic of your paper. Don’t spin your wheels: get specific and get to the point right away.” (31)

Your introduction is your opportunity to catch your reader’s attention and involve that person in the ideas you put forth in your paper. Imagine riding in an elevator with someone you’d like to strike up a conversation with about a specific topic. How do you do it? How do you catch that person’s attention before the ride is up? You can’t just immediately throw your claims and evidence at that person, yet at the same time, he or she is unlikely to be compelled by vague general statements about “the history of time” or where and when a certain person was born. And you can’t stand there all day getting to the point. Instead, you look for compelling point of interest that is both related to where you’d like to go with your discussion, and is of shared interest between you and that person. After raising the topic through this point of common ground, you can then put forth what you will claim about it.

Argument Paragraphs

As we have seen elsewhere, a complete argument paragraph consists of the following components:

• Topic Sentence: Suggests generally what the paragraph is talking about; often includes a transition from previous paragraphs.
• Claim: Makes a very specific claim that the paragraph will argue is true; you’ll likely derive this claim from your thesis statement (together, all your paragraph claims will work to prove your thesis).
• Evidence: Provides the textual support for the claim.
• Analysis: Explains how the evidence actually relates to the argument. This is typically the most challenging part of composing your paragraph, and it is often forgotten (much to the peril of both reader and writer!). Here, you must articulate how the passage you’ve just cited supports the paragraph claim/argument premise. You must explain how the textual evidence means what you think it means. Never rely on the reader to be able to interpret the evidence on his or her own. That is, if your argument is a statement with which the careful reader can disagree, this means that the evidence you provide can likely be interpreted in many different ways. You need to guide your reader in interpreting the evidence so as to argue why your claim is true.
• Conclusion: Offers implications of the argument and evidence, often transitions to the next paragraph. This often answers the “so what?” question. It articulates why what you’ve just proven matters and usually articulates how your argument claims relates to/proves the thesis statement.

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How to write a rhetorical analysis essay, basic essay structure: how to build it.

Writing a well-structured essay is like building a house: you need a solid foundation, sturdy walls, and a roof to complete it. A well-organized essay helps your ideas flow smoothly and makes it easier for readers to follow your argument. Plus, it shows that you’ve put thought into your work, making it more convincing and enjoyable to read.

So, what does a good essay structure look like? Whether you’re writing a narrative, descriptive, expository, or persuasive essay, following this structure will help you stay organized and make your writing more impactful. Let’s dive in and learn how to put it all together!

How to Structure an Essay

Imagine you’re building a house. You need a solid foundation, walls, and a roof to make it stand. Writing an essay is similar. It requires a good structure to hold your ideas together and make your argument clear. Let’s break down the go-to essay structure to help you get started.

First, you need an introduction that grabs the reader’s attention. Start with an engaging opening sentence that makes your reader want to keep going. This could be a surprising fact, a question, or a bold statement. Then, provide some background information to set the context or give a brief overview of the topic. Finally, end your introduction with a thesis statement that clearly presents the main argument or purpose of your essay.

Next, you have the body paragraphs . Each paragraph should begin with a topic sentence that introduces the main idea. Follow this with supporting details, which can be evidence, examples, or explanations that back up your point. It’s important to keep your ideas clear and logical. Also, use transitions to smoothly link each paragraph to the next, helping the reader follow your argument effortlessly.

Lastly, your conclusion ties everything together. Start by restating your thesis in different words to reinforce your main argument. Then, summarize the key points you discussed in the body paragraphs. This helps remind the reader of the journey they’ve taken through your essay. Finally, end with a closing statement or call to action that leaves a lasting impression. This could be a thought-provoking comment, a suggestion for further research, or a call to action based on your argument.

Remember, the introduction sets the stage, the body paragraphs build the argument, and the conclusion wraps it all up.

With practice, you’ll find that this go-to structure makes essay writing much easier and more effective.

Basic Essay Structure for Different Types of Essays

Writing essays becomes simpler when you understand the structure. Here, we’ll look at five common types: narrative, descriptive, expository, persuasive, and comparative essays. Each has unique characteristics and serves a specific purpose. I’ll also include an example of how to structure the main body for each type.

Narrative Essay

A narrative essay tells a story from the author’s perspective. It aims to engage the reader by making the story interesting and relatable.

Example Structure:

• Introduction : Set the scene and introduce the main character.
• Body Paragraph 1 : Describe the beginning of the story (setting, characters).
• Body Paragraph 2 : Describe the main event or conflict.
• Body Paragraph 3 : Describe the climax of the story.
• Conclusion : Describe the resolution and the lesson learned.

Descriptive Essay

A descriptive essay paints a picture with words. It aims to describe a person, place, object, or event so vividly that the reader can visualize it.

• Introduction : Introduce the subject you will describe.
• Body Paragraph 1 : Describe the subject using sight (what it looks like).
• Body Paragraph 2 : Describe the subject using sound (what it sounds like).
• Body Paragraph 3 : Describe the subject using smell, touch, and taste (if applicable).
• Conclusion : Summarize the main points and highlight the overall impression.

Expository Essay

An expository essay explains or informs. It provides a balanced analysis of a topic, using facts, statistics, and examples.

• Introduction : Present the topic and state the thesis.
• Body Paragraph 1 : Explain the first main idea with supporting facts and examples.
• Body Paragraph 2 : Explain the second main idea with supporting facts and examples.
• Body Paragraph 3 : Explain the third main idea with supporting facts and examples.
• Conclusion : Summarize the main points and restate the thesis.

Persuasive Essay

A persuasive essay aims to convince the reader to accept a particular viewpoint or take a specific action. It uses logic, reason, and emotion to build a compelling argument.

• Introduction : Introduce the topic and state your position.
• Body Paragraph 1 : Present the first supporting argument with evidence.
• Body Paragraph 2 : Present the second supporting argument with evidence.
• Body Paragraph 3 : Present the third supporting argument with evidence.
• Body Paragraph 4 : Address a counterargument and refute it.
• Conclusion : Summarize the arguments and reinforce your position.

Comparative Essay

A comparative essay examines the similarities and differences between two or more subjects. It helps the reader understand the subjects better by comparing them.

• Introduction : Introduce the subjects and state the basis for comparison.
• Body Paragraph 1 : Compare the first point of similarity or difference between the subjects.
• Body Paragraph 2 : Compare the second point of similarity or difference between the subjects.
• Body Paragraph 3 : Compare the third point of similarity or difference between the subjects.
• Conclusion : Summarize the comparisons and highlight the overall insights.

Now, you can effectively organize your essays and make your writing clear and engaging. Each type of essay has its unique features, so choose the one that best fits your topic and purpose.

How to Organize an Essay with Structural Transition Words

Using transitional words is like putting up road signs for your reader. These words guide them through your essay, making it easier to follow your thoughts and arguments. They help in creating a smooth flow, making your writing more engaging and coherent. Let’s dive into different types of transitional words and how they can be used effectively.

👋 Introduction to Body

When you transition from the introduction to the body of your essay, you need words that signal the beginning of your main discussion. These words help to seamlessly connect the introduction to the detailed points you will cover.

For instance, words like “ Firstly ,” “ To begin with ,” and “ Initially ” are perfect for starting your body paragraphs. They let the reader know that you are moving from the introductory context to the main points. For example, you might say, “Firstly, it’s important to understand the historical context of the issue.” Or, “To begin with, let’s explore the primary causes of the conflict.” These words set the stage for detailed analysis and help the reader transition smoothly from the general introduction to specific arguments.

➕ Adding Information

When you need to add more information or points to your argument, transitional words come in handy. These words indicate that there is more to say on the topic, building on what has already been mentioned.

Words like “ Furthermore ,” “ Moreover ,” and “ Additionally ” are great for adding information. For example, “Furthermore, recent studies support this claim,” or “Moreover, this approach has been widely adopted in several countries.” By using these words, you show that you are expanding on your previous points, making your argument more comprehensive and convincing.

✅ Providing Examples

To illustrate your points more clearly, providing examples is absolutely necessary. Transitional words help introduce these examples smoothly, showing the reader that you are giving concrete evidence to support your claims.

Examples of such words include “ For example ,” “ For instance ,” and “ Such as .” You might write, “For example, many schools have implemented this program successfully,” or “For instance, in the case of renewable energy, solar power has shown remarkable potential.” These words prepare the reader for specific details that back up your general statements, making your argument stronger.

☀️❄️ Contrasting Information

Sometimes, you need to present contrasting information to show different perspectives or to highlight an exception to the rule. Transitional words help indicate a shift from one idea to a contrasting one.

Words like “ However ,” “ On the other hand ,” and “ Conversely ” are ideal for this purpose. For example, “However, not all experts agree with this view,” or “On the other hand, there are significant challenges to this approach.” These words signal to the reader that you are about to present a different angle, helping them to understand the complexity of the issue.

🔀 Showing Cause and Effect

To explain the relationship between actions and outcomes, cause-and-effect transitional words are essential. They help you link causes to their effects clearly and logically.

Words such as “ Therefore ,” “ Consequently ,” and “ As a result ” are perfect for this. You might say, “Therefore, it is clear that immediate action is necessary,” or “Consequently, the policy had to be revised.” These words make it easy for the reader to follow the logical progression of your argument, showing how one idea leads to another.

📍 Summarizing/Concluding

In the conclusion of your essay, you need transitional words that help you summarize your main points and bring your argument to a close. These words signal to the reader that you are wrapping up your discussion.

Examples include “ In conclusion ,” “ To summarize ,” and “ Ultimately .” For example, “In conclusion, the evidence strongly supports the need for policy change,” or “To summarize, the key factors influencing this issue have been thoroughly examined.” These words help you succinctly tie together your main points and leave the reader with a clear understanding of your argument.

Tips for Writing a Structure of an Essay

Writing a well-structured essay is like building a strong bridge that connects your ideas seamlessly. Let’s dive into some tips that can help you create a clear and effective essay structure.

Think of an outline as your essay’s roadmap. Before you start writing, take some time to outline your main points. This will give you a clear direction and keep you on track. Start with your introduction, list out the key points you’ll cover in the body, and jot down ideas for your conclusion. Outlining helps you organize your thoughts and makes the writing process smoother.

Each paragraph in your essay should focus on one main idea. Begin with a topic sentence that clearly states this idea. The rest of the paragraph should provide evidence, examples, or explanations that support the topic sentence. This keeps your writing focused and makes it easier for the reader to follow your argument. For example, if you’re writing about the benefits of exercise, one paragraph might focus on physical health benefits, while another might discuss mental health improvements.

Transitions are the glue that holds your essay together. They help you move smoothly from one idea to the next, ensuring your essay flows well. Words like “Firstly,” “Additionally,” “However,” and “In conclusion” guide your reader through your essay. These transitions make your writing more coherent and help emphasize the relationships between your ideas.

A well-balanced essay is easy to read and understand. Make sure your paragraphs are roughly the same length and provide a balanced amount of information. Avoid cramming too much information into one paragraph or making another too short. Each paragraph should be clear, focused, and contribute to your overall argument. This balance keeps your essay well-organized and engaging.

Once you’ve finished writing, take the time to proofread your essay. Look for structural consistency: Are your paragraphs in a logical order? Do your transitions make sense? Is each paragraph focused on a single main idea? Proofreading helps you catch any inconsistencies or areas that might confuse your reader. It’s also a good time to check for clarity. Make sure your ideas are clearly expressed and easy to understand.

Writing a structured essay doesn’t have to be complicated. By outlining your essay, ensuring each paragraph has a clear main idea, using transitions, keeping paragraphs balanced, and proofreading for consistency and clarity, you can create an essay that is both engaging and easy to follow. Practice these tips, and you’ll become more confident in your essay writing skills. Happy writing!

How should I structure an essay?

Structuring an essay involves three main parts: the introduction, the body, and the conclusion. Start with an engaging introduction that includes a hook, background information, and a clear thesis statement. Then, develop your main ideas in body paragraphs, each starting with a topic sentence and supported by evidence. Finally, wrap up your essay with a conclusion that restates the thesis, summarizes key points, and leaves the reader with a final thought or call to action.

What are the 3 major parts of essay structure?

The three major parts of an essay structure are the introduction, body, and conclusion. The introduction sets the stage by introducing the topic and stating the thesis. The body is the main section where you develop your ideas and arguments, usually in several paragraphs. The conclusion ties everything together, restating the thesis and summarizing the main points, providing closure to the discussion.

What is the 5 point structure to an essay?

The 5 point structure to an essay includes:

• Introduction : Hook, background information, and thesis statement.
• Body Paragraph 1 : First main point with supporting evidence.
• Body Paragraph 2 : Second main point with supporting evidence.
• Body Paragraph 3 : Third main point with supporting evidence.
• Conclusion : Restate thesis, summarize key points, and final thought.

This structure helps organize your essay in a clear, logical manner, making it easier for the reader to follow and understand your argument.

What is an example of essay structure?

An example of an essay structure might look like this:

Introduction : “Education is essential for personal and societal growth. This essay will discuss the importance of education in developing critical thinking skills, promoting social equality, and fostering economic development.”

Body Paragraph 1 : “Firstly, education plays a crucial role in developing critical thinking skills. Students learn to analyze information, evaluate arguments, and solve problems creatively. For instance, critical thinking is emphasized in subjects like mathematics and science.”

Body Paragraph 2 : “Moreover, education promotes social equality by providing opportunities for all individuals, regardless of their background. Public schooling systems aim to offer equal access to quality education, helping to bridge the gap between different social classes.”

Body Paragraph 3 : “Finally, education fosters economic development by creating a skilled workforce. Educated individuals are more likely to find employment, contribute to innovation, and drive economic growth. For example, countries with higher education levels often have stronger economies.”

Conclusion : “In conclusion, education is vital for developing critical thinking skills, promoting social equality, and fostering economic development. Investing in education is essential for creating a better future for individuals and society as a whole.”

This structure ensures that your essay is well-organized and that each point is clearly presented and supported.

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Writing an effective and impactful essay is crucial to your academic or professional success. Whether it’s getting into the college of your dreams or scoring high on a major assignment, writing a well-structured essay will help you achieve it all. But before you learn how to write an essay , you need to know its basic components.

In this article, we will understand what an essay is, how long it should be, and its different parts and types. We will also take a detailed look at relevant examples to better understand the essay structure.

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What is an essay?

An essay is a concise piece of nonfiction writing that aims to either inform the reader about a topic or argue a particular perspective. It can either be formal or informal in nature. Most academic essays are highly formal, whereas informal essays are commonly found in journal entries, social media, or even blog posts.

As we can see from this essay definition, the beauty of essays lies in their versatility. From the exploration of complex scientific concepts to the history and evolution of everyday objects, they can cover a vast range of topics.

How long is an essay?

The length of an essay can vary from a few hundred to several thousand words but typically falls between 500–5,000 words. However, there are exceptions to this norm, such as Joan Didion and David Sedaris who have written entire books of essays.

Let’s take a look at the different types of essays and their lengths with the help of the following table:

How many paragraphs are in an essay?

Typically, an essay has five paragraphs: an introduction, a conclusion, and three body paragraphs. However, there is no set rule about the number of paragraphs in an essay.

The number of paragraphs can vary depending on the type and scope of your essay. An expository or argumentative essay may require more body paragraphs to include all the necessary information, whereas a narrative essay may need fewer.

Structure of an essay

To enhance the coherence and readability of your essay, it’s important to follow certain rules regarding the structure. Take a look:

1. Arrange your information from the most simple to the most complex bits. You can start the body paragraph off with a general statement and then move on to specifics.

2. Provide the necessary background information at the beginning of your essay to give the reader the context behind your thesis statement.

3. Select topic statements that provide value, more information, or evidence for your thesis statement.

There are also various essay structures , such as the compare and contrast structure, chronological structure, problem method solution structure, and signposting structure that you can follow to create an organized and impactful essay.

Parts of an essay

An impactful, well-structured essay comes down to three important parts: the introduction, body, and conclusion.

1. The introduction sets the stage for your essay and is typically a paragraph long. It should grab the reader’s attention and give them a clear idea of what your essay will be about.

2. The body is where you dive deeper into your topic and present your arguments and evidence. It usually consists of two paragraphs, but this can vary depending on the type of essay you’re writing.

3. The conclusion brings your essay to a close and is typically one paragraph long. It should summarize the main points of the essay and leave the reader with something to think about.

The length of your paragraphs can vary depending on the type of essay you’re writing. So, make sure you take the time to plan out your essay structure so each section flows smoothly into the next.

Introduction

When it comes to writing an essay, the introduction is a critical component that sets the tone for the entire piece. A well-crafted introduction not only grabs the reader’s attention but also provides them with a clear understanding of what the essay is all about. An essay editor can help you achieve this, but it’s best to know the brief yourself!

Let’s take a look at how to write an attractive and informative introductory paragraph.

1. Construct an attractive hook

To grab the reader’s attention, an opening statement or hook is crucial. This can be achieved by incorporating a surprising statistic, a shocking fact, or an interesting anecdote into the beginning of your piece.

For example, if you’re writing an essay about water conservation you can begin your essay with, “Clean drinking water, a fundamental human need, remains out of reach for more than one billion people worldwide. It deprives them of a basic human right and jeopardizes their health and wellbeing.”

2. Provide sufficient context or background information

An effective introduction should begin with a brief description or background of your topic. This will help provide context and set the stage for your discussion.

For example, if you’re writing an essay about climate change, you start by describing the current state of the planet and the impact that human activity is having on it.

3. Construct a well-rounded and comprehensive thesis statement

A good introduction should also include the main message or thesis statement of your essay. This is the central argument that you’ll be making throughout the piece. It should be clear, concise, and ideally placed toward the end of the introduction.

By including these elements in your introduction, you’ll be setting yourself up for success in the rest of your essay.

Let’s take a look at an example.

Essay introduction example

• Background information
• Thesis statement

The Wright Brothers’ invention of the airplane in 1903 revolutionized the way humans travel and explore the world. Prior to this invention, transportation relied on trains, boats, and cars, which limited the distance and speed of travel. However, the airplane made air travel a reality, allowing people to reach far-off destinations in mere hours. This breakthrough paved the way for modern-day air travel, transforming the world into a smaller, more connected place. In this essay, we will explore the impact of the Wright Brothers’ invention on modern-day travel, including the growth of the aviation industry, increased accessibility of air travel to the general public, and the economic and cultural benefits of air travel.

Body paragraphs

You can persuade your readers and make your thesis statement compelling by providing evidence, examples, and logical reasoning. To write a fool-proof and authoritative essay, you need to provide multiple well-structured, substantial arguments.

Let’s take a look at how this can be done:

1. Write a topic sentence for each paragraph

The beginning of each of your body paragraphs should contain the main arguments that you’d like to address. They should provide ground for your thesis statement and make it well-rounded. You can arrange these arguments in several formats depending on the type of essay you’re writing.

2. Provide the supporting information

The next point of your body paragraph should provide supporting information to back up your main argument. Depending on the type of essay, you can elaborate on your main argument with the help of relevant statistics, key information, examples, or even personal anecdotes.

3. Analyze the supporting information

After providing relevant details and supporting information, it is important to analyze it and link it back to your main argument.

4. Create a smooth transition to the next paragraph

End one body paragraph with a smooth transition to the next. There are many ways in which this can be done, but the most common way is to give a gist of your main argument along with the supporting information with transitory words such as “however” “in addition to” “therefore”.

Here’s an example of a body paragraph.

Essay body paragraph example

• Topic sentence
• Supporting information
• Analysis of the information
• Smooth transition to the next paragraph

The Wright Brothers’ invention of the airplane revolutionized air travel. They achieved the first-ever successful powered flight with the Wright Flyer in 1903, after years of conducting experiments and studying flight principles. Despite their first flight lasting only 12 seconds, it was a significant milestone that paved the way for modern aviation. The Wright Brothers’ success can be attributed to their systematic approach to problem-solving, which included numerous experiments with gliders, the development of a wind tunnel to test their designs, and meticulous analysis and recording of their results. Their dedication and ingenuity forever changed the way we travel, making modern aviation possible.

A powerful concluding statement separates a good essay from a brilliant one. To create a powerful conclusion, you need to start with a strong foundation.

Let’s take a look at how to construct an impactful concluding statement.

1. Restructure your thesis statement

To conclude your essay effectively, don’t just restate your thesis statement. Instead, use what you’ve learned throughout your essay and modify your thesis statement accordingly. This will help you create a conclusion that ties together all of the arguments you’ve presented.

2. Summarize the main points of your essay

The next point of your conclusion consists of a summary of the main arguments of your essay. It is crucial to effectively summarize the gist of your essay into one, well-structured paragraph.

3. Create a lasting impression with your concluding statement

Conclude your essay by including a key takeaway, or a powerful statement that creates a lasting impression on the reader. This can include the broader implications or consequences of your essay topic.

Here’s an example of a concluding paragraph.

Essay conclusion example

• Restated thesis statement
• Summary of the main points
• Broader implications of the thesis statement

The Wright Brothers’ invention of the airplane forever changed history by paving the way for modern aviation and countless aerospace advancements. Their persistence, innovation, and dedication to problem-solving led to the first successful powered flight in 1903, sparking a revolution in transportation that transformed the world. Today, air travel remains an integral part of our globalized society, highlighting the undeniable impact of the Wright Brothers’ contribution to human civilization.

Types of essays

Most essays are derived from the combination or variation of these four main types of essays . let’s take a closer look at these types.

1. Narrative essay

A narrative essay is a type of writing that involves telling a story, often based on personal experiences. It is a form of creative nonfiction that allows you to use storytelling techniques to convey a message or a theme.

2. Descriptive essay

A descriptive essay aims to provide an immersive experience for the reader by using sensory descriptors. Unlike a narrative essay, which tells a story, a descriptive essay has a narrower scope and focuses on one particular aspect of a story.

3. Argumentative essays

An argumentative essay is a type of essay that aims to persuade the reader to adopt a particular stance based on factual evidence and is one of the most common forms of college essays.

4. Expository essays

An expository essay is a common format used in school and college exams to assess your understanding of a specific topic. The purpose of an expository essay is to present and explore a topic thoroughly without taking any particular stance or expressing personal opinions.

While this article demonstrates what is an essay and describes its types, you may also have other doubts. As experts who provide essay editing and proofreading services , we’re here to help. 

Our team has created a list of resources to clarify any doubts about writing essays. Keep reading to write engaging and well-organized essays!

• How to Write an Essay in 8 Simple Steps
• How to Write an Essay Header
• How to Write an Essay Outline

Frequently Asked Questions

What is the difference between an argumentative and an expository essay, what is the difference between a narrative and a descriptive essay, what is an essay format, what is the meaning of essay, what is the purpose of writing an essay.

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How to Structure an Essay

Essay writing is a fundamental skill, a basic task, that is expected of those who choose to pursue their undergraduate and master’s degrees. It constitutes a key requirement for students to complete a given course credit. However, many students and early career researchers find themselves struggling with the challenge of organizing their thoughts into a coherent, engaging structure. This article is especially for those who see essay writing as a daunting task and face problems in presenting their work in an impactful way.  

Table of Contents

• Writing an essay: basic elements and some key principles  
• Essay structure template 
• Chronological structure 
• Problem-methods-solutions structure 
• Compare and contrast structures 
• Frequently asked questions on essay structure 

Read on as we delve into the basic elements of essay writing, outline key principles for organizing information, and cover some foundational features of writing essays.  

Writing an essay: basic elements and some key principles

Essays are written in a flowing and continuous pattern but with a structure of its own. An introduction, body and conclusion are integral to it. The key is to balance the amount and kind of information to be presented in each part. Various disciplines may have their own conventions or guidelines on the information to be provided in the introduction.  

A clear articulation of the context and background of the study is important, as is the definition of key terms and an outline of specific models or theories used. Readers also need to know the significance of the study and its implications for further research. Most importantly, the thesis or the main proposition should be clearly presented.  

The body of the essay is therefore organized into paragraphs that hold the main ideas and arguments and is presented and analyzed in a logical manner. Ideally, each paragraph of the body focuses on one main point or a distinct topic and must be supported by evidence and analysis. The concluding paragraph should bring back to the reader the key arguments, its significance and food for thought. It is best not to re-state all the points of the essay or introduce a new concept here. 

In other words, certain general guidelines help structure the information in the essay. The information must flow logically with the context or the background information presented in the introductory part of the essay. The arguments are built organically where each paragraph in the body of the essay deals with a different point, yet closely linked to the para preceding and following it. Importantly, when writing essays, early career researchers must be careful in ensuring that each piece of information relates to the main thesis and is a building block to the arguments. 

Essay structure template

• Introduction 
• Provide the context and share significance of the study 
• Clearly articulate the thesis statement 
• Body  
• Paragraph 1 consisting of the first main point, followed by supporting evidence and an analysis of the findings. Transitional words and phrases can be used to move to the next main point. 
• There can be as many paragraphs with the above-mentioned elements as there are points and arguments to support your thesis. 
• Conclusion  
• Bring in key ideas and discuss their significance and relevance 
• Call for action 
• References 

Essay structures

The structure of an essay can be determined by the kind of essay that is required.  

Chronological structure

Also known as the cause-and-effect approach, this is a straightforward way to structure an essay. In such essays, events are discussed sequentially, as they occurred from the earliest to the latest. A chronological structure is useful for discussing a series of events or processes such as historical analyses or narratives of events. The introduction should have the topic sentence. The body of the essay should follow a chorological progression with each para discussing a major aspect of that event with supporting evidence. It ends with a summarizing of the results of the events.  

Problem-methods-solutions structure

Where the essay focuses on a specific problem, the problem-methods-solutions structure can be used to organize the essay. This structure is ideal for essays that address complex issues. It starts with presenting the problem, the context, and thesis statement as introduction to the essay. The major part of the discussion which forms the body of the essay focuses on stating the problem and its significance, the author’s approach or methods adopted to address the problem along with its relevance, and accordingly proposing solution(s) to the identified problem. The concluding part offers a recap of the research problem, methods, and proposed solutions, emphasizing their significance and potential impact. 

Compare and contrast structures

This structure of essay writing is ideally used when two or more key subjects require a comparison of ideas, theories, or phenomena. The three crucial elements, introduction, body, and conclusion, remain the same. The introduction presents the context and the thesis statement. The body of the essay seeks to focus on and highlight differences between the subjects, supported by evidence and analysis. The conclusion is used to summarize the key points of comparison and contrast, offering insights into the significance of the analysis.  

Depending on how the subjects will be discussed, the body of the essay can be organized according to the block method or the alternating method. In the block method, one para discusses one subject and the next para the other subject. In the alternative method, both subjects are discussed in one para based on a particular topic or issue followed by the next para on another issue and so on.  

Frequently asked questions on essay structure

An essay structure serves as a framework for presenting ideas coherently and logically. It comprises three crucial elements: an introduction that communicates the context, topic, and thesis statement; the body focusing on the main points and arguments supported with appropriate evidence followed by its analysis; and a conclusion that ties together the main points and its importance .  

An essay structure well-defined essay structure enhances clarity, coherence, and readability, and is crucial for organizing ideas and arguments to effectively communicate key aspects of a chosen topic. It allows readers to better understand arguments presented and demonstrates the author’s ability to organize and present information systematically. 

Yes, while expert recommend following an essay structure, early career researchers may choose how best to adapt standard essay structures to communicate and share their research in an impactful and engaging way. However, do keep in mind that deviating too far from established structures can hinder comprehension and weaken the overall effectiveness of the essay,  By understanding the basic elements of essay writing and employing appropriate structures such as chronological, problem-methods-solutions, or compare and contrast, researchers can effectively organize their ideas and communicate their findings with clarity and precision. 

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Structure of an Essay

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Your essay should start with an introductory paragraph. There are actually many different ways to begin an essay; therefore, the format of the introductory paragraph is flexible. Often, essays begin with a general introductory statement. This statement could be an anecdote, description, striking statistic, a fact that will lead to your thesis, etc. Beginning this way, you will use the first few sentences to prepare, or “lay the groundwork” for your thesis, and use the last sentence of the first paragraph to present your thesis. However, your thesis statement can be anywhere in your introduction. In a longer essay, you can even wait to present your thesis until the second paragraph or later. Also for a longer essay, you should begin to introduce a few supporting ideas in the first couple of paragraphs. These supporting ideas should be the topics that you will discuss in full in your body paragraphs. For a short essay, presenting supporting ideas during the introduction is optional.

Your second paragraph generally begins the body of the paper. (For a longer paper, the body of the paper may not begin until the third paragraph or later). This paragraph should begin with a topic sentence that introduces the first supporting idea (the support for your thesis). You should use the middle of the paragraph to discuss your support, give examples, and analyze the significance of these examples. Your last sentence of the body paragraph could be used to draw a conclusion for that supporting idea or to transition into the next paragraph.

Your next two body paragraphs should follow the same format as your first body paragraph. They should each have a separate topic sentence and supporting ideas, but the three paragraphs should work together to prove your thesis. If you are writing a longer paper, you will have more than three body paragraphs, but they should all follow this format.

The form of your conclusion, like your introduction, is flexible. One good way to conclude a paper is to begin the last paragraph with a statement that reflects on what has been stated and proved, without repeating it exactly. Then you should briefly restate your key points to gently remind the reader how well you proved your thesis. Your conclusion should end with a statement or idea that leaves a strong impression and provokes further thought.

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How to structure an essay

(Last updated: 13 May 2021)

Since 2006, Oxbridge Essays has been the UK’s leading paid essay-writing and dissertation service

We have helped 10,000s of undergraduate, Masters and PhD students to maximise their grades in essays, dissertations, model-exam answers, applications and other materials. If you would like a free chat about your project with one of our UK staff, then please just reach out on one of the methods below.

This guide is for anyone looking to vastly improve their essay writing skills through better knowledge what is meant by good 'essay structure'.

Essay writing is a key component to academic success at every level. It is, essentially, the way in which people within the academic community communicate with each other. Thus, there are fundamental ways in which academics structure their work and formal ways of communicating what they have to say. Writing essays is not simply a hoop for students to jump through. The vast majority of instructors and professors also write essays at a professional level, and they do not ask of their students anything less than the standard that is asked of them.

Where too many students go wrong in writing their essays is in either failing to plan ahead (not giving sufficient, care, thought, or time to the process) or in not understanding the expectations of essay writing. Of these expectations, appropriate and effective essay structure is critical. Students often lose valuable marks by failing to structure their essays clearly and concisely to make the best of their ideas.

So how do you structure academic writing? What is the best essay structure format?

First, consider what an essay is . What is it supposed to do? At its core an essay is simply an argument . Now, by argument we don’t mean a slanging match between two angry people. Rather, we are talking about a formal argument. An idea or a claim, which is supported by logic and/or evidence.

Imagine the following scenario: you feel the time has come to approach your boss about getting a raise at work. Imagine yourself walking into your supervisor’s office and requesting that raise. Almost automatically, your mind formulates a rhetorical structure. There are effective and ineffective ways of asking of making such a request. The effective strategy will have a logic and an order. You will firstly claim that you deserve a raise. And you will give evidence to support why you deserve that raise. For example: you are a hard worker, you are never late, you have the admiration and respect of your colleagues, you have been offered another position elsewhere and you want the pay matched. And so on. And you would probably wrap up your discussion with an overview of of why giving you more money is important.

And that is fundamentally an essay. Every good essay has three basic parts: an introduction, a body, and a conclusion.

This simple guide will show you how to perfect your essay structure by clearly introducing and concluding your argument, and laying out your paragraphs coherently in between. Your essay writing can be dramatically improved overnight simply by using the correct essay structure, as explained below.

Where the essay starts

When you are writing an essay , every sentence and every paragraph is important. But there is something extra important about introductions. Just like going out on a date for the first time, you want the introduction to be just right, almost perfect. You want to put your best self forward and create a great first impression.

You should already know this, but most professors and instructors will start grading your work in their head as soon as they begin reading it. They will be sorting your essay, maybe not in terms of a grade, but most definitely in terms of strong/weak, interesting/dull, or effective/ineffective. And most will have some notion of where your essay falls on that scale before they even finish the introduction. It will be the rarest of markers who withholds judgement until the end. The introduction is something you absolutely must start strong.

Always develop an introduction that clearly sets out the aims of what you are about to write and, if applicable, refers to the subject under investigation. State what the essay will try to achieve and briefly mention some of the main points you will consider. The idea is to give the marker an overview of your argument, to show that your thought process is logical and coherent and that you have carefully thought the question through. Don’t try to go into any of your key points in depth in your introduction – they will each be covered by a full paragraph later on. If the question is an ‘either or’ or a ‘how far do you agree’ question, it is useful to set out both sides of the argument briefly in the introduction in preparation for exploring the two sides later in the essay.

Think of your introduction as a thumbnail picture of the whole essay. Anyone, but especially the marker, should know the essay subject and how you intend to prove or disprove it, just from having read just the introduction.

Take the following example:

You have been given this assignment: The main purpose of Gothic fiction is to break normal moral and social codes. Discuss.

A strong introduction should read something like this:

It is certainly true that many works of Gothic fiction manifest the transgression of normal moral and social codes as their major theme. Their emphasis on female sexuality, their breaking of the boundaries between life and death and their shocking displays of immoral religious characters would all suggest that this is indeed the case. However, it is also important to consider other major aspects of the genre that might be considered equally important in purpose, such as its fascination with the supernatural, its portrayal of artificial humanity and its satirical social attacks. This essay will explore these conflicting purposes with reference to several different Gothic texts to discover what might be best described as the ‘main’ purpose of the genre.

Reread that paragraph. Does it tell you what the topic of the essay is? What the point is? What the essay plans to do? Now, without reading think about just the size of that paragraph. If a marker were to see an introduction that were any less than that they would automatically know, without even reading a word, that the topic was not going to be well introduced. That is not to suggest you simply fill up the paragraph, but that a certain amount of information in the introduction is expected.

It is worth pointing out that in a much longer essay an introduction does not need to be limited to a single paragraph. Generally, however, it will be.

The body of your essay

The second part of the essay is the body. This is the longest part of the essay. In general, a short essay will have at least three full paragraphs; a long essay considerably more.

Each paragraph is a point that you want to make that relates to the topic. So, going back to the ‘give me more money’ example from earlier, each reason you have for deserving a raise should be a separate paragraph, and that paragraph is an elaboration on that claim.

Paragraphs, like the essay overall, also have an expected structure. You should start a new paragraph for each major new idea within your essay, to clearly show the examiner the structure of your argument. Each paragraph should begin with a signpost sentence that sets out the main point you are going to explore in that section. It is sometimes helpful to refer back to the title of the essay in the signpost sentence, to remind the examiner of the relevance of your point. Essay writing becomes much easier for you too this way, as you remind yourself exactly what you are focusing on each step of the way.

Here's a signpost sentence example: One important way in which Gothic fiction transgresses normal moral and social codes is in its portrayal of the female heroine.

Further sentences in this paragraph would then go on to expand and back up your point in greater detail and with relevant examples. The paragraph should not contain any sentences that are not directly related to the issue set out in the signpost sentence. So you are writing an essay that clearly separates its ideas into structured sections. Going back to the wage-raise example: in the middle of talking about how punctual you are, would you start talking about how you are a good colleague, then about that client you impressed, and then talk about your punctuality again? Of course not. The same rules apply: each paragraph deals with one idea, one subject.

The end of your essay

The last section of your essay is the conclusion. In general, this will also be a single paragraph in shorter essays, but can go on to two or three for slightly longer discussions.

Every well-structured essay ends with a conclusion . Its purpose is to summarise the main points of your argument and, if appropriate, to draw a final decision or judgement about the issues you have been discussing. Sometimes, conclusions attempt to connect the essay to broader issues or areas of further study.

It is important not to introduce any new ideas in the conclusion – it is simply a reminder of what your essay has already covered. It may be useful again to refer back to the title in the conclusion to make it very clear to the examiner that you have thoroughly answered the question at hand. Make sure you remind them of your argument by very concisely touching on each key point.

Here an example of an essay conclusion:

Overall, whilst it is certainly true that the characters, plots and settings of Gothic fiction seem firmly intended to break normal moral and social codes, the great incidence within the genre of the depiction of the supernatural, and in particular its insistent reference to social injustice and hypocrisy might suggest that in fact its main purpose was the criticism and reform of society.

But where do I start???

Now you should have a solid grasp of a typical essay structure but might not know how to actually begin structuring your essay. Everyone works differently. Some people have no trouble thinking everything out in their head, or putting together a plan, and starting with the introduction and finishing with the conclusion.

One surefire way to make your life easier is to, in the first instance, write out an essay plan . Jotting down a plan where you create a structure, which details what your essay will cover, will save you time in the long run - so we highly recommend you do this!

When planning your essay structure, we suggest writing from the inside out and doing the body paragraphs first. Since each body paragraph is a main idea, then once you know what your main ideas are, these should come fairly easily. Then the introduction and conclusion after that.

If you're really struggling - or just curious - you can also look into the Essay Writing Service from ourselves here at Oxbridge Essays. We can put together a comprehensive essay plan for you, which maps out your essay and outlines the key points in advance, and in turn makes the writing process much easier.

One final thought to remember: good essays are not written, they are rewritten . Always go over your first draft and look for ways to improve it before handing it in.

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Structuring the Essay ( AQA GCSE English Literature )

Revision note.

Structuring the Essay

Answering just one essay question can seem daunting. However, examiners just want to see your ideas and opinions on the 19th-century novel you have studied. The guide below will enable you to best express these ideas and opinions in a way that will gain the highest marks. It includes guides on:

Answering the question

Planning your essay, writing your essay.

As Paper 1 requires you to answer two questions in 1hr 45min, you have 52 and a half minutes to plan, write and check your 19th-century novel essay. A good rule of thumb is to spend:

• 7 minutes analysing the question and the extract
• 7-10 minutes of planning
• 30-35 minutes of writing

It is always a good idea to use the rest of your time to review what you’ve written and to make any adjustments.

Students usually think that spending more time on writing will gain more marks, but this isn't true: more essay doesn’t mean more marks! Examiners prefer shorter, well-planned responses that have a clear argument throughout.

Indeed, long essays that are unstructured and sprawling can in fact lose marks for being unfocused. Therefore, it is vital to always set aside time to write a plan.

Regardless of which 19th-century novel you study, the type of question you’ll need to write an essay for will be the same. You will be asked a question that asks you to analyse and write in detail about an aspect of the novel. Your answer will need to address both an extract from the novel that you will be given and the novel as a whole.

It is tempting to jump straight in and start analysing the extract immediately. However, completing the steps below first will ensure you answer the question in the way that examiners are looking for.

6 key steps to answer the 19th-century novel exam question effectively:

1. The very first thing you should do once you open your exam paper is to look at the question:

• This sounds obvious, but it’s really crucial to read through the question a few times 
• Why is this important? Regardless of what subject you’re being examined in, the single biggest mistake most students make in their exams is not reading the question through carefully enough that they answer the question they think they’re being asked, rather than the question they’ve actually been asked 
• It’s especially important to get this right in your GCSE English Literature exams because you only have five essay questions to answer across two papers, so if you misread a question, you’re potentially costing yourself a large number of marks     

2. Identify the keywords of the question

• The keywords are the focus of the question: the specific themes, ideas, or characters the examiners want you to focus on
• For the above question, the key words of question are “how Stevenson presents good and evil”
• This is the theme the examiners want you to explore in your essay
• Do not be tempted to write a question on a related theme, even if you have revised more for it: this will affect your overall mark badly, as you won’t be directly answering the question! 
• In the example above, the theme is about good and evil, so make sure you plan and write an essay about good and evil , rather than, for example, the role of religion in the novel
• Although this could be viewed as a related theme, your answer won’t be focused on the question and will lose you marks

3. Critically evaluate the idea or theme of the question in terms of the novel as a whole

• Think: what is this question asking, and what is it not asking?
• It is asking you to explore ideas about good and evil – a duality between what is considered morally right with what is considered wicked and wrong
• The question is not asking you to explore any other themes
• Again, writing about related ideas will actually lose you marks as you aren’t answering the exact question you have been set. The examiner isn’t going to reward you extra marks for information that is factually correct or demonstrates a great understanding of the novel if the information is not relevant to the question being asked

4. Now you have identified and evaluated the key idea or theme of the question, read the contextual information above the extract:

5. Contextualise the extract further yourself, before reading it

• Think: what else happens before and after this point in the novel?
• Which characters are involved?
• How does it link to other parts of the text?
• Therefore, even at this stage, it is good to think about how the theme of the question develops before and after this point in the novel

6. Read the extract with all of the above information (the keywords from the question; the context) in mind

• This will enable you to pick out quotations and analyse only the most relevant parts of the extract in the context of the novel as a whole, and the question you have been set

Planning your essay is absolutely vital to achieve the highest marks. Examiners always stress that the best responses are those that have a logical, well-structured argument that comes with spending time planning an answer. This, in turn, will enable you to achieve the highest marks for each assessment objective. The main assessment objectives are:

It is important to remember how marks are distributed for each assessment objective: there are 12 marks for AO1, 12 marks for AO2 and 6 marks for AO3. The mark scheme places assessment objectives AO1 and AO2 as the key skills, therefore while AO3 must be addressed in your response, your essay should focus predominantly on AO1 and AO2. 

• Your overall argument, or thesis (AO1)
• Your topic sentences  for all your paragraphs (AO1)
• The quotations you will be using and analysing from the extract (AO1 & AO2)
• The quotations you will be using and analysing from elsewhere in the novel (AO1 & AO2)
• A sense of why the author has made the choices they have (AO2)
• A sense of what contextual factors give further insight to the ideas and theme presented in the question (AO3)
• Therefore, a plan may look like the following:

Some other tips:

• You do not need to include a counter-argument (disagreeing with the question/including paragraphs which begin “On the other hand”)
• The questions have been designed to enable as many students as possible to write essays 
• Examiners say that the inclusion of a counter-argument is often unnecessary and unhelpful
• It can affect your AO1 mark negatively
• Include evidence and analysis of the extract in the same paragraph as evidence and analysis of the rest of the novel
• Think of the extract as a stepping stone to the whole text
• Examiners prefer an “integrated approach”:  paragraphs that include related analysis of both the extract and the whole novel 
• Examiners dislike essays which treat the extract and the rest of the novel as “separate entities”: when students analyse the extract in the first half of their essays, and then the rest of the novel in the second half of their response
• This would mean your answer doesn’t cover the full scope of the question, and your AO1 mark would be affected

Given the time pressure of the exam, there is always a temptation for students to do without a plan, especially if they feel they understand the focus of the question well. However, this is a mistake. 

The exam board states: “Where students have written a plan, there is often a sense of a coherent and organised response, for which references and quotations have been selected to support the student’s argument.”

What this means is that writing a plan not only enables you to achieve the highest AO1 marks (for organisation of argument) but also helps you select the most precise quotations and references, which will lead to the more relevant analysis of the writer’s methods (AO2).

Once you have read and evaluated the question, read and analysed the extract, and created a clear plan, you are ready to begin writing. Below is a guide detailing what to include.

Your essay should include:

• An introduction with a thesis  statement
• A number of paragraphs (three is ideal!), each covering a separate point. It’s a great idea to start each paragraph with a topic sentence  
• A conclusion

Introduction

• Your introduction should aim to clearly, and briefly, answer the question
• The best way to do this is to include a thesis statement
• You should include the exact words from the question in your thesis statement
• Examiners want to see your own opinion : your interpretation of what the author is trying to show
• A good way to think about this is to ask: what is the author’s one big idea in terms of the characters or themes addressed in the question?
• Include contextual ideas and perspectives to help explain the author’s intentions
• Including the author’s message or one big idea helps create a “conceptualised response”, which examiners reward the highest marks
• An example of a thesis statement:

Thesis statement:

“Stevenson presents good and evil as a constant duality throughout the novel and portrays it as a natural facet of the individual, which results in an ongoing battle between the two. Stevenson proposes that the inherent evil aspect of man is merely suppressed by society and he attempts to explore the consequences of attempting to separate one from the other.”

• Introductions should not be too long, or include all the details of what each paragraph will include
• You will not be rewarded for including the same information twice, so don’t waste time repeating yourself
• Write your thesis in the third person, not the first person (don’t use “I”)
• “I believe that Stevenson presents ideas about good and evil …. ❌
• “Stevenson presents good and evil as a constant duality through the character of Dr Jekyll / Mr Hyde … in order to illustrate …” ✅
• Try to include three separate paragraphs that cover three separate points
• This will ensure your response is to what examiners call the “full task”
• Start each paragraph with a topic sentence
• A topic sentence is an opening sentence which details the focus of its paragraph
• It should include the words of the question
• All topic sentences must relate to your thesis
• They should be seen as sub-points that provide a more specific and narrower focus than your thesis statement
• Everything that follows a topic sentence in a paragraph must support the point it makes

Example of a topic sentence:

“Stevenson presents Jekyll as a man with a respectable reputation within society which is juxtaposed with the depiction of Hyde as a manifestation of evil.”

• Paragraphs ideally include analysis of both the extract and the whole novel
• This is what examiners call an “integrated approach”
• Don’t separate your analysis of the rest of the novel into different paragraphs
• The examiners stated that the best students “dip in and out of both the extract and the whole text to select details which support their argument as appropriate”
• Beware of writing an overly structured paragraph which follows a set pattern
• You may have learned PEE, PEAL, PEED, or other structures for your paragraphs
• However, examiners often say that although these are excellent for learning what to include in essays, they can be limiting in an exam
• Instead, be led by the ideas in the text, and prove your own argument (both the overall thesis and your topic sentences)
• This can result in improved marks for AO1
• A conclusion for a 19th-century novel should only summarise the proof you have provided for your thesis
• It only needs to be two or three sentences long
• It should include the words of the question and your thesis
• Remember, you do not get rewarded for including the same information twice

An example of a conclusion:

“To conclude, Stevenson presents good and evil as two powerful entities which coexist within the individual. Through his characterisation of Dr Jekyll and Mr Hyde, Stevenson indicates their separation as an impossibility and he uses them to present a very powerful exploration of the complexity of human nature.”

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Author: Nick

Nick is a graduate of the University of Cambridge and King’s College London. He started his career in journalism and publishing, working as an editor on a political magazine and a number of books, before training as an English teacher. After nearly 10 years working in London schools, where he held leadership positions in English departments and within a Sixth Form, he moved on to become an examiner and education consultant. With more than a decade of experience as a tutor, Nick specialises in English, but has also taught Politics, Classical Civilisation and Religious Studies.

GCSE revision resources

How to structure an essay for gcse english literature.

When writing an essay for English Lit you need to make sure that you organise it in a way which includes everything which can get you marks. I will specifically be detailing the structure which I came up with for use in OCR English Lit for GCSE but this could be used or adapted for…

When writing an essay for English Lit you need to make sure that you organise it in a way which includes everything which can get you marks. I will specifically be detailing the structure which I came up with for use in OCR English Lit for GCSE but this could be used or adapted for other exam boards as well.

For the 40 mark essay questions in the OCR exams you are given an extract from text which the question is on and you are also expected to choose your own moments from the text to discuss. The essay structure I would suggest using includes a thesis statement, 4 main paragraphs and a conclusive statement.

Your thesis statement broadly answers the question which you are given and summarises the arguments which you will put forward in your essay. It can be supported by short quotations, often ones which are less interesting to analyse whilst still relevant to answering the question. For higher marks you may want to introduce elements of nuance to your argument or discuss the progression of a character or theme from the question in this section.

You should then write 4 main paragraphs, at least one of these should be on the extract but people usually focus two of their paragraphs on the extract provided. The remaining paragraphs need to use quotations which you have memorised from the text. I have linked StudySmarter flashcards sets for the quotations for all the quotations I learnt at the bottom of the page.

The paragraph structure you should use for each of these 4 main paragraphs is:

Point- a topic sentence briefly explaining an idea in answer to the question

Contextualise- discuss a moment in the text which evidences this point, tell the reader what is broadly going on

Evidence- embed a quotation from this moment in the text

Analysis- analyse the quotation (for help with how to do this check out my post on how to explode quotations)

Context/form- link the analysis to the form (themes or type of text, eg: gothic or tragedy) or the context of the text being written

Reader- explain the effect of the moment on the reader/audience member- either one or both of a modern reader/audience member or a contemporary reader/audience member. Here you can also link again to context or to structure: discuss why a contemporary reader would react the way you have described or discuss changing tensions in the text due to the events of the moment

Using this structure for the paragraphs allows you to: make strong points, analyse language, link to context, discuss the form of the text, include references to structure and how all of these features impact the reader.

Finally you should end in a conclusion of only one or two sentences to end your essay.

Jekyll and Hyde:

https://app.studysmarter.de/studyset/19550616?ref=QQEjfH2Pg6WIL02krjcIsjei48LvMpJe

Romeo and Juliet:

https://app.studysmarter.de/studyset/19550624?ref=QQEjfH2Pg6WIL02krjcIsjei48LvMpJe

An Inspector Calls:

https://app.studysmarter.de/studyset/19696738?ref=QQEjfH2Pg6WIL02krjcIsjei48LvMpJe

Conflict Poetry (OCR):

https://app.studysmarter.de/studyset/19500214?ref=QQEjfH2Pg6WIL02krjcIsjei48LvMpJe

Happy revising 🙂

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UPSC Essays Simplified: Structure and Flow of a good essay– the third step

How to build a 'structure and flow' in a good essay our expert takes you through the third stage of writing an essay in upsc essentials' new series. don't miss the essay exercise towards the end of the article..

How to write essays for UPSC Civil Services Exams?   This is one of the most popular questions among aspirants. In UPSC Essentials’ special series  UPSC Essays Simplified , we take you through various steps of writing a good essay. While there is no set formula or fixed criteria prescribed,  Manas Srivastava  talks to  Ravi Kapoor , our expert, in this new series who guides the aspirants with a simplified framework on how to write a good essay. Don’t miss  ‘The Essay Exercise’  towards the end of the article.

Ravi Kapoor focuses on the following steps of pre-writing and writing stages which will help aspirants to write a ‘good essay’.

Today, we will focus on Step 3. 

About our Expert:   Ravi Kapoor IRS (R) , has now ditched his coveted rank of deputy commissioner and has offered free quality mentorship to UPSC aspirants, drawing upon his ten years of experience to create customised and productive curriculum. Through a free mentorship programme, he integrates tailored educational materials, psychological principles, visual learning techniques, and a strong emphasis on mental well-being into his teaching skills granting aspirants a chance to learn from his expertise.

How to have a ‘Structure and Flow’ in a good essay?

Everyone knows that an essay should be broken down into an introduction, body and conclusion. But what is written inside these 3 components and HOW it is written makes the difference between an essay fetching average or excellent scores.

Structuring and flow refer to the organisation of the essay and your ideas therein.

A good structure is a way of organising information that fits well with the essay topic and the ideas you wish to present in your arguments such that the reader can make sense of the entire write-up without much effort.

Good flow refers to how your arguments and counterarguments connect from one to another such that the reader finds it logically connected and easy to comprehend.

An essay without these elements will appear to be disorganized, jargoned, hard to comprehend and overall, complicated.

Contrary to popular belief, flow and structure are not subjective writing skills that are inborn in good writers but can be learned and improved upon. What follows is a series of structuring techniques that will help you choose the best one for any essay topic you may encounter.

What are different types of structures? 

1. 2 side face-off:.

This is the oldest trick in the book. While writing the body of the essay, you divide it into arguments and counterarguments. In other words, you compare one side of the debate with the other.

For example:

“Thinking is like a game; it does not begin unless there is an opposite team”

The body of the essay can be divided into 2 parts- one agreeing with the statement and one disagreeing with it as follows:

Thinking is reciprocal as thought builds on other thoughts. The Socratic method, championed by Socrates, is a testament to this idea. Socrates would go around Athens spreading knowledge by asking questions and inciting dialogue which would lead the conversationist to the point of realization about something new and profound.

Similarly, when Einstein said he was standing on the shoulders of giants, he meant that his theory of relativity was built using many ideas developed by mathematicians and physicists who came before him.

The reciprocal nature of thought helps to improve it by allowing dissent and counterarguments much like a game of chess. An example is the Case study pioneered by Harvard Business School wherein one case is debated upon in detail considering various strategies before arriving at the optimal one.

While dissent and opposition can lead to many a good idea, there are more ways for thought to develop into ideas within human consciousness. Human cognition is too complex to be restricted to one mode of thinking. A Case in point is intuitive or creative thinking that can arise spontaneously without the interlocking of two human intelligences.

For instance, creative geniuses often hit upon their best ideas out of the blue in ‘Eureka’ moments that seem to arise from within the subconscious mind without the presence of an opponent.

Another example is ‘thought-experiments’ used by philosophers that are designed to be introspective exercises that one engages with, with oneself. Thought experiments are indispensable tools for philosophers and physicists to offer insight into a profound problem of logic and metaphysics.

2.Dimensional analysis:

It has become fashionable to break the essay topic into various dimensions such as Social, Cultural, Historical, Economic etc. But this is not a one-size-fits-all method and may or may not work with every essay topic.

“Education is what remains after one has forgotten what one has learned in the school…”

While this topic can be written about based on various dimensions such as economic, historical, social etc, it is not necessarily the best structure for it.

Instead, a better way to present the information in this essay topic would have a mix of chronology and analysis in the following way-

We are blank slates when we are born onto which society and culture leave their imprint. Through childhood and adolescence, the education system seeks to put us through a treadmill of learning, hoping for a fully functional human to emerge at the end. Sadly, the world that awaits a young adult after school is often very different from what the education system has imparted.

Memorization, exams, grades and NCERT books amount to nothing in a world driven by start-ups, ChatGPT and Social Media influencers…. Please note that the dimensions such as social, cultural and historical factors can also be mentioned in the body of the essay as supporting content ideas.

In most essay topics, these dimensions are best used to describe the reasons and impact of an issue or debate instead of as just a structure.

3. Timeline and Chronology

Some essay topics are uniquely suited for a chronological structure wherein you take the reader through a historical journey or evolution such as :

“History is a series of victories won by the scientific man over the romantic man”

This topic is about the ancient debate between rationality and idealism. To write well about it, you would have to trace the through major historical intellectual movements such as the Scientific Revolution, the Dark Ages, the Renaissance, etc. While doing so, you could mention how each stage was relevant for rational thinking versus idealism with relevant examples.

While you do so chronologically, remember to also present a balanced approach in your arguments- On every stage, you can mention how rational thinking and idealism have been in a tight relationship, but both have been an integral part of human consciousness representing creativity and logic. You may also mention how this to and fro has enriched human civilisation and led to the development of science and art.

4. Anecdotes and stories

Many students like to start their essays with an anecdote- a personal story or an imaginary one about characters highlighting the debate presented in the essay topic. While this is not a bad strategy, it requires a fair amount of creative writing ability to pull off properly. It is also important to mention that anecdotes are not the most suitable vehicle to comprehensively deal with the essay topic as not all arguments can easily fit into a personal story.

An example of a good use of anecdotal structure is:

“Not all who wander are lost”

About 2000 years ago, a wandering prince changed the world by questioning the most profound and radical assumptions about human existence. Prince Siddhartha was bathed in luxury and wanted for nothing. But when we saw the naked reality of the world and all its suffering, he could not silence his mind to the questions that we take for granted- why is there suffering and death? If suffering is inevitable then what is the point of life? Is there peace to be found or are we doomed to suffer in this life?

He wandered for years in search of answers, as lost as a soul can be. But in the end, it was his wandering that changed the world forever. When he became the Buddha, he not only found himself but saved millions of others from being lost themselves….

Anecdotes can make for good hooks or introductions to an essay but may not serve well to cover the entire body of the essay.

The Essay Exercise

Important points to note: 

• You can choose which type of structure to use- there is no single best choice.
• You may use more than 1 type of structure.
• You may use structures for introduction, body and conclusion.

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Manas Srivastava is currently working as Deputy Copy Editor with The Indian Express (digital) and majorly writes for UPSC-related projects leading a unique initiative known as UPSC Essentials. In the past, Manas has represented India at the G-20 Youth Summit in Mexico. He is a former member of the Youth Council, GOI. A two-time topper/gold medallist in History (both in graduation and post-graduation) from Delhi University, he has mentored and taught UPSC aspirants for more than four years. His diverse role in The Indian Express consists of writing, editing, anchoring/ hosting, interviewing experts, and curating and simplifying news for the benefit of students. He hosts the YouTube talk show called ‘Art and Culture with Devdutt Pattanaik’ and a LIVE series on Instagram and YouTube called ‘You Ask We Answer’.His talks on ‘How to read a newspaper’ focus on newspaper reading as an essential habit for students. His articles and videos aim at finding solutions to the general queries of students and hence he believes in being students' editor, preparing them not just for any exam but helping them to become informed citizens. This is where he makes his teaching profession meet journalism. He is also currently working on a monthly magazine for UPSC Aspirants. He is a recipient of the Dip Chand Memorial Award, the Lala Ram Mohan Prize and Prof. Papiya Ghosh Memorial Prize for academic excellence. He was also awarded the University’s Post-Graduate Scholarship for pursuing M.A. in History where he chose to specialise in Ancient India due to his keen interest in Archaeology. He has also successfully completed a Certificate course on Women’s Studies by the Women’s Studies Development Centre, DU. As a part of N.S.S in the past, Manas has worked with national and international organisations and has shown keen interest and active participation in Social Service. He has led and been a part of projects involving areas such as gender sensitisation, persons with disability, helping slum dwellers, environment, adopting our heritage programme. He has also presented a case study on ‘Psychological stress among students’ at ICSQCC- Sri Lanka. As a compere for seminars and other events he likes to keep his orating hobby alive. His interests also lie in International Relations, Governance, Social issues, Essays and poetry. ... Read More

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How to Write Recommendations in Research Paper

Every research paper should end with a conclusion and recommendations concerning the main topic. How to write a recommendation report? What should be added in this part, and what – shouldn't be? What is the structure of this section? Having answered these questions, a person may write this fragment of the project perfectly. Let's get into this issue together.

Recommendations in a research paper: meaning and purpose

What is the purpose of recommendations? Why are they so important? Generally, it is the essential element of the research paper because it shows how deeply the material was investigated and analyzed. They are usually given in the form of suggestions based on the research findings and implications.

So, this part of the project deals with areas that occurred underexplored. The author may point out the direction of further possible research or the ways of improving the situation available.

Where to put recommendations?

As a rule, the recommendation section of a research paper is placed in the conclusion or discussion. However, it may depend on the sphere investigated. For example, in business papers, it is possible to write suggestions in an advisory report or set them into a separate segment.

Wherever being included, it should be complete, supporting implications and findings of the project. Clearness, possible practical application, and relevance are the characteristics of this block.

What should recommendations look like?

Your ideas and suggestions are to be well-organized and reasonable. Moreover, value for other researchers in this field should be presented. The approach to the section being solution-oriented, similar investigators will be able to achieve the same results or continue developing the brunch.

There may be three variants of recommendations:

• directives,
• obligations.

The choice depends on the problems and sphere discussed.

When writing your thoughts, try to use a bullet system, not a long straight text. Actionable words are also welcome.

Structure of recommendations

A recommendation section should contain such points as:

• research questions to be discussed;
• a summary of research results;
• their significance for practical application;
• strengths and weaknesses of the work;
• correlation to similar investigations in the sphere mentioned;
• suggestions for future research.

If speaking about a short version of the structure, it may consist of 3 parts:

• A research question.
• A conclusion.
• Recommendations.

As an example

Recommendations in research papers: key features

The whole investigation process should be systematic and logical; the results – objective, unprejudiced, and replicable. A researcher usually prepares a solid basis of evidence, which serves as a background for further recommendations.

They should be:

• achievable,
• meaningful,

If your ideas meet these requirements, be sure of their success.

How to write recommendations in research papers: a working guideline

Here we'd like to give some definite tips. Just follow the matter to make recommendations as smart and useful as possible.

• Use a clear and neutral language. Try to avoid both professional terms and jargon. Let your recommendation consist of one precise sentence.
• Organize all your thoughts in a coherent system. Define bullet points; think over relevant headings and subheadings.
• Make up measurable and specific recommendations. There should be a clear connection between the investigated issue and the solutions you point out. 
• Be sure that all your suggestions are in line with conclusions and research results. It is much better to recommend one efficient thing for all conclusions than to give a bunch of vague ones.
• Formulate only achievable solutions. All of them should be practical and easy-to-render.
• Analyze everything in complex. Give a recommendation, covering all important spheres, explored in your project.
• Avoid presenting new data in this segment. It should be based only on the researched phenomenon.
• Prepare the content, suitable for your audience (colleagues, teammates, companions in the researching field, etc.). Your ideas should make further investigation possible.
• Give an expanded explanation of your recommendations. Do not only list them but provide the readers with evidence, underlining their effectiveness.
• Do not minimize your achievements and merits in the investigated field. Just accentuate that your work is like a takeoff runway for further work.
• Define and analyze the lack of information or possibilities, concerning your research, if there are any. It will testify to your critical thinking skills.
• Finish this part of the research paper with a summary, highlighting the significance and practical value of your suggestions.

Except for the paper segment filling, be sure that you know the standards of recommendation report format. You may find them in local institution guidelines. 

Finally, you have enough information to create effective and well-structured recommendations for your research paper. And if you still need any inspiration, visit the essay generator Aithor . It is free and easy to use.

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Spring 2025 Semester

Undergraduate courses.

Composition courses that offer many sections (ENGL 101, 201, 277 and 379) are not listed on this schedule unless they are tailored to specific thematic content or particularly appropriate for specific programs and majors.

• 100-200 level

ENGL 201.ST2 Composition II: The Mind/Body Connection

Dr. sharon smith.

In this online section of English 201, students will use research and writing to learn more about problems that are important to them and articulate ways to address those problems. The course will focus specifically on issues related to the body, the mind, and the relationship between them. The topics we will discuss during the course will include the correlation between social media and body image; the psychological effects of self-objectification; and the unique mental and physical challenges faced by college students today, including food insecurity and stress.

English 201 S06 and S11: Composition II with an emphasis in Environmental Writing

S06: MWF at 10–10:50 a.m. in Yeager Hall Addition 231

S11: MWF at 12–12:50 p.m. in Crothers Engineering Hall 217

Gwen Horsley

English 201 will help students develop skills to write effectively for other university courses, careers, and themselves. This course will provide opportunities to further develop research skills, to write vividly, and to share their own stories and ideas. Specifically, in this class, students will (1) focus on the relationships between world environments, land, animals and humankind; (2) read various essays by environmental, conservational, and regional authors; and (3) produce student writings. Students will improve their writing skills by reading essays and applying techniques they witness in others’ work and those learned in class. This class is also a course in logical and creative thought. Students will write about humankind’s place in the world and our influence on the land and animals, places that hold special meaning to them or have influenced their lives, and stories of their own families and their places and passions in the world. Students will practice writing in an informed and persuasive manner, in language that engages and enlivens readers by using vivid verbs and avoiding unnecessary passives, nominalizations, and expletive constructions.

Students will prepare writing assignments based on readings and discussions of essays included in Literature and the Environment and other sources. They will use The St. Martin’s Handbook to review grammar, punctuation, mechanics, and usage as needed.

Required Text: Literature and the Environment: A Reader On Nature and Culture. 2nd ed., edited by Lorraine Anderson, Scott Slovic, and John P. O’Grady.

LING 203.S01 English Grammar

TuTh 12:30-1:45 p.m.

Dr. Nathan Serfling

The South Dakota State University 2023-2024 Undergraduate Catalog describes LING 203 as consisting of “[i]nstruction in the theory and practice of traditional grammar including the study of parts of speech, parsing, and practical problems in usage.”

“Grammar” is a mercurial term, though. Typically, we think of it to mean “correct” sentence structure, and, indeed, that is one of its meanings. But Merriam-Webster reminds us “grammar” also refers to “the principles or rules of an art, science, or technique,” taking it beyond the confines of syntactic structures. Grammar also evolves in practice through application (and social, historical, economic changes, among others). Furthermore, grammar evolves as a concept as scholars and educators in the various fields of English studies debate the definition and nature of grammar, including how well its explicit instruction improves students’ writing. In this course, we will use the differing sensibilities, definitions, and fluctuations regarding grammar to guide our work. We will examine the parts of speech, address syntactic structures and functions, and parse and diagram sentences. We will also explore definitions of and debates about grammar. All of this will occur in units about the rules and structures of grammar; the application of grammar rhetorically and stylistically; and the debates surrounding various aspects of grammar, including, but not limited to, its instruction.

ENGL 210 Introduction to Literature

Jodi andrews.

Readings in fiction, drama and poetry to acquaint students with literature and aesthetic form. Prerequisites: ENGL 101. Notes: Course meets SGR #4 or IGR #3.

ENGL 222 British Literature II

TuTh 9:30-10:45 a.m.

This course serves as a chronological survey of the second half of British literature. Students will read a variety of texts from the Romantic period, the Victorian period, and the twentieth and twenty-first centuries, placing these texts within their historical and literary contexts and identifying the major characteristics of the literary periods and movements that produced them.

ENGL 240.ST1 Juvenile Literature

Randi l. anderson.

A survey of the history of literature written for children and adolescents, and a consideration of the various types of juvenile literature.

ENGL 240.ST1 Juvenile Literature: 5-12 Grade

In English 240 students will develop the skills to interpret and evaluate various genres of literature for juvenile readers. This particular section will focus on various works of literature at approximately the 5th-12th grade level.

Readings for this course include works such as Night, Brown Girl Dreaming, All American Boys, Esperanza Rising, Anne Frank’s Diary: A Graphic Adaptation, Animal Farm, Fahrenheit 451, The Giver, The Hobbit, Little Women, and Lord of the Flies . These readings will be paired with chapters from Reading Children’s Literature: A Critical Introduction to help develop understanding of various genres, themes, and concepts that are both related to juvenile literature, and also present in our readings.

In addition to exploring various genres of writing (poetry, non-fiction, fantasy, historical, non-fiction, graphic novels, etc.) this course will also allow students to engage in a discussion of larger themes present in these works such as censorship, race, rebellion and dissent, power and oppression, gender, knowledge, and the power of language and the written word. Students’ understanding of these works and concepts will be developed through readings, discussion posts, quizzes and exams.

ENGL 240.ST2 Juvenile Literature Elementary-5th Grade

April myrick.

A survey of the history of literature written for children and adolescents, and a consideration of the various genres of juvenile literature. Text selection will focus on the themes of imagination and breaking boundaries.

ENGL 242.S01 American Literature II

TuTh 11 a.m.-12:15 p.m.

Dr. Paul Baggett

This course surveys a range of U.S. literatures from about 1865 to the present, writings that treat the end of slavery and the development of a segregated America, increasingly urbanized and industrialized U.S. landscapes, waves of immigration, and the fulfilled promise of “America” as imperial nation. The class will explore the diversity of identities represented during that time, and the problems/potentials writers imagined in response to the century’s changes—especially literature’s critical power in a time of nation-building. Required texts for the course are The Norton Anthology of American Literature: 1865 to the Present and Toni Morrison’s A Mercy.

WMST 247.S01: Introduction to Women, Gender and Sexuality Studies

As an introduction to Women, Gender and Sexuality studies, this course considers the experiences of women and provides an overview of the history of feminist thought and activism, particularly within the United States. Students will also consider the concepts of gender and sexuality more broadly to encompass a diversity of gender identifications and sexualities and will explore the degree to which mainstream feminism has—and has not—accommodated this diversity. The course will focus in particular on the ways in which gender and sexuality intersect with race, class, ethnicity, and disability. Topics and concepts covered will include: movements for women’s and LGBTQ+ rights; gender, sexuality and the body; intersectionality; rape culture; domestic and gender violence; reproductive rights; Missing and Murdered Indigenous Women (MMIW); and more.

ENGL 283.S01 Introduction to Creative Writing

MWF 1-1:50 p.m.

Prof. Steven Wingate

Students will explore the various forms of creative writing (fiction, nonfiction and poetry) not one at a time in a survey format—as if there were decisive walls of separation between then—but as intensely related genres that share much of their creative DNA. Through close reading and work on personal texts, students will address the decisions that writers in any genre must face on voice, rhetorical position, relationship to audience, etc. Students will produce and revise portfolios of original creative work developed from prompts and research. This course fulfills the same SGR #2 requirements ENGL 201; note that the course will involve creative research projects. Successful completion of ENGL 101 (including by test or dual credit) is a prerequisite.

English 284: Introduction to Criticism

This course introduces students to selected traditions of literary and cultural theory and to some of the key issues that animate discussion among literary scholars today. These include questions about the production of cultural value, about ideology and hegemony, about the patriarchal and colonial bases of Western culture, and about the status of the cultural object, of the cultural critic, and of cultural theory itself.

To address these and other questions, we will survey the history of literary theory and criticism (a history spanning 2500 years) by focusing upon a number of key periods and -isms: Greek and Roman Classicism, The Middle Ages and Renaissance, The Enlightenment, Romanticism, Realism, Formalism, Historicism, Political Criticism (Marxism, Post-Colonialism, Feminism, et al.), and Psychological Criticism. We also will “test” various theories we discuss by examining how well they account for and help us to understand various works of poetry and fiction.

• 300-400 level

ENGL 330.S01 Shakespeare

TuTh 8-9:15 a.m.

Dr. Michael S. Nagy

This course will focus on William Shakespeare’s poetic and dramatic works and on the cultural and social contexts in which he wrote them. In this way, we will gain a greater appreciation of the fact that literature does not exist in a vacuum, for it both reflects and influences contemporary and subsequent cultures. Text: The Riverside Shakespeare: Complete Works. Ed. Evans, G. Blakemore and J. J. M. Tobin. Boston: Houghton Mifflin, 1997.

ENGL 363 Science Fiction

MWF 11-11:50 a.m.

This course explores one of the most significant literary genres of the past century in fiction and in film. We will focus in particular on the relationship between science fiction works and technological and social developments, with considerable attention paid to the role of artificial intelligence in the human imagination. Why does science fiction seem to predict the future? What do readers and writers of the genre hope to find in it? Through readings and viewings of original work, as well as selected criticism in the field, we will address these and other questions. Our reading and viewing selections will include such artists as Ursula K. LeGuin, Octavia Butler, Stanley Kubrick and Phillip K. Dick. Students will also have ample opportunity to introduce the rest of the class to their own favorite science fiction works.

ENGL 383.S01 Creative Writing I

MWF 2-2:50 p.m.

Amber Jensen

Creative Writing I encourages students to strengthen poetry, creative nonfiction, and/or fiction writing skills through sustained focus on creative projects throughout the course (for example, collections of shorter works focused on a particular form/style/theme, longer prose pieces, hybrid works, etc.). Students will engage in small- and large-group writing workshops as well as individual conferences with the instructor throughout the course to develop a portfolio of creative work. The class allows students to explore multiple genres through the processes of writing and revising their own creative texts and through writing workshop, emphasizing the application of craft concepts across genre, but also allows students to choose one genre of emphasis, which they will explore through analysis of self-select texts, which they will use to deepen their understanding of the genre and to contextualize their own creative work.

ENGL 475.S01 Creative Nonfiction

Mondays 3-5:50 p.m.

In this course, students will explore the expansive and exciting genre of creative nonfiction, including a variety of forms such as personal essay, braided essay, flash nonfiction, hermit crab essays, profiles and more. Through rhetorical reading, discussion, and workshop, students will engage published works, their own writing process, and peer work as they expand their understanding of the possibilities presented in this genre and the craft elements that can be used to shape readers’ experience of a text. Students will compile a portfolio of polished work that demonstrates their engagement with course concepts and the writing process.

ENGL 485.S01 Writing Center Tutoring

MW 8:30-9:45 a.m.

Since their beginnings in the 1920s and 30s, writing centers have come to serve numerous functions: as hubs for writing across the curriculum initiatives, sites to develop and deliver workshops, and resource centers for faculty as well as students, among other functions. But the primary function of writing centers has necessarily and rightfully remained the tutoring of student writers. This course will immerse you in that function in two parts. During the first four weeks, you will explore writing center praxis—that is, the dialogic interplay of theory and practice related to writing center work. This part of the course will orient you to writing center history, key theoretical tenets and practical aspects of writing center tutoring. Once we have developed and practiced this foundation, you will begin work in the writing center as a tutor, responsible for assisting a wide variety of student clients with numerous writing tasks. Through this work, you will learn to actively engage with student clients in the revision of a text, respond to different student needs and abilities, work with a variety of writing tasks and rhetorical situations and develop a richer sense of writing as a complex and negotiated social process.

ENGL 492.S01 The Vietnam War in Literature and Film

Tuesdays 3-5:50 p.m.

Dr. Jason McEntee

In 1975, the United States officially included its involvement in the Vietnam War, thus marking 2025 as the 50th anniversary of the conclusion (in name only) of one of the most chaotic, confusing, and complex periods in American history. In this course, we will consider how literature and film attempt to chronicle the Vietnam War and, perhaps more important, its aftermath. I have designed this course for those looking to extend their understanding of literature and film to include the ideas of art, experience, commercial products, and cultural documents. Learning how to interpret literature and movies remains the highest priority of the course, including, for movies, the study of such things as genre, mise-en-scene (camera movement, lighting, etc.), editing, sound and so forth.

We will read Dispatches , A Rumor of War , The Things They Carried , A Piece of My Heart , and Bloods , among others. Some of the movies that we will screen are: Apocalypse Now (the original version), Full Metal Jacket , Platoon , Coming Home , Born on the Fourth of July , Dead Presidents , and Hearts and Minds . Because we must do so, we will also look at some of the more fascinatingly outrageous yet culturally significant fantasies about the war, such as The Green Berets and Rambo: First Blood, Part II .

ENGL 492.S02 Classical Mythology

TuTh 3:30-4:45 p.m.

Drs. Michael S. Nagy and Graham Wrightson

Modern society’s fascination with mythology manifests itself in the continued success of novels, films and television programs about mythological or quasi-mythological characters such as Hercules, the Fisher King, and Gandalf the Grey, all of whom are celebrated for their perseverance or their daring deeds in the face of adversity. This preoccupation with mythological figures necessarily extends back to the cultures which first propagated these myths in early folk tales and poems about such figures as Oðin, King Arthur, Rhiannon, Gilgamesh, and Odysseus, to name just a few. English 492, a reading-intensive course cross-listed with History 492, primarily aims to expose students to the rich tradition of mythological literature written in languages as varied as French, Gaelic, Welsh, Old Icelandic, Greek, and Sumerian; to explore the historical, social, political, religious, and literary contexts in which these works flourished (if indeed they did); and to grapple with the deceptively simple question of what makes these myths continue to resonate with modern audiences. Likely topics and themes of this course will include: Theories of myth; Mythological Beginnings: Creation myths and the fall of man; Male and Female Gods in Myth; Foundation myths; Nature Myths; The Heroic Personality; the mythological portrayal of (evil/disruptive) women in myth; and Monsters in myth.

Likely Texts:

• Dalley, Stephanie, trans. Myths from Mesopotamia: Creation, the Flood, Gilgamesh, and Others. Oxford World’s Classics, 2009
• Faulkes, Anthony, trans. Edda. Everyman, 1995
• Gregory, Lady Augusta. Cuchulain of Muirthemne: The Story of the Men of the Red Branch of Ulster. Forgotten Books, 2007
• Jones, Gwyn, Thomas Jones, and Mair Jones. The Mabinogion. Everyman Paperback Classics, 1993
• Larrington, Carolyne, trans. The Poetic Edda . Oxford World’s Classics, 2009
• Matarasso, Pauline M., trans. The Quest of the Holy Grail. Penguin Classics, 1969
• Apollodorus, Hesiod’s Theogony
• Hesiod’s Works and Days
• Ovid’s Metamorphoses, Homeric Hymns
• Virgil’s Aeneid
• Iliad, Odyssey
• Apollonius of Rhodes Argonautica
• Ovid’s Heroides
• Greek tragedies: Orestaia, Oedipus trilogy, Trojan Women, Medea, Hippoolytus, Frogs, Seneca's Thyestes, Dyskolos, Amphitryon
• Clash of the Titans, Hercules, Jason and the Argonauts, Troy (and recent miniseries), Oh Brother, Where Art Thou?

ENGL 492.ST1 Science Writing

Erica summerfield.

This course aims to teach the fundamentals of effective scientific writing and presentation. The course examines opportunities for covering science, the skills required to produce clear and understandable text about technical subjects, and important ethical and practical constraints that govern the reporting of scientific information. Students will learn to present technical and scientific issues to various audiences. Particular emphasis will be placed on conveying the significance of research, outlining the aims, and discussing the results for scientific papers and grant proposals. Students will learn to write effectively, concisely, and clearly while preparing a media post, fact sheet, and scientific manuscript or grant.

Graduate Courses

Engl 575.s01 creative nonfiction.

In this course, students will explore the expansive and exciting genre of creative nonfiction, including a variety of forms such as personal essay, braided essay, flash nonfiction, hermit crab essays, profiles, and more. Through rhetorical reading, discussion, and workshop, students will engage published works, their own writing process, and peer work as they expand their understanding of the possibilities presented in this genre and the craft elements that can be used to shape readers’ experience of a text. Students will compile a portfolio of polished work that demonstrates their engagement with course concepts and the writing process.

ENGL 592.S01: The Vietnam War in Literature and Film

Engl 704.s01 introduction to graduate studies.

Thursdays 3-5:50 p.m.

Introduction to Graduate Studies is required of all first-year graduate students. The primary purpose of this course is to introduce students to modern and contemporary literary theory and its applications. Students will write short response papers and will engage at least one theoretical approach in their own fifteen- to twenty-page scholarly research project. In addition, this course will further introduce students to the M.A. program in English at South Dakota State University and provide insight into issues related to the profession of English studies.

ENGL 792.ST1 Grant Writing

This online course will familiarize students with the language, rhetorical situation, and components of writing grant proposals. Students will explore various funding sources, learn to read an RFP, and develop an understanding of different professional contexts and the rhetorical and structural elements that suit those distinct contexts. Students will write a sample proposal throughout the course and offer feedback to their peers, who may be writing in different contexts, which will enhance their understanding of the varied applications of course content. Through their work in the course, students will gain confidence in their ability to find, apply for, and receive grant funding to support their communities and organizations.