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Essay Writing

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This resource begins with a general description of essay writing and moves to a discussion of common essay genres students may encounter across the curriculum. The four genres of essays (description, narration, exposition, and argumentation) are common paper assignments you may encounter in your writing classes. Although these genres, also known as the modes of discourse, have been criticized by some composition scholars, the Purdue OWL recognizes the wide spread use of these genres and students’ need to understand and produce these types of essays. We hope these resources will help.

The essay is a commonly assigned form of writing that every student will encounter while in academia. Therefore, it is wise for the student to become capable and comfortable with this type of writing early on in her training.

Essays can be a rewarding and challenging type of writing and are often assigned either to be done in class, which requires previous planning and practice (and a bit of creativity) on the part of the student, or as homework, which likewise demands a certain amount of preparation. Many poorly crafted essays have been produced on account of a lack of preparation and confidence. However, students can avoid the discomfort often associated with essay writing by understanding some common genres.

Before delving into its various genres, let’s begin with a basic definition of the essay.

What is an essay?

Though the word essay has come to be understood as a type of writing in Modern English, its origins provide us with some useful insights. The word comes into the English language through the French influence on Middle English; tracing it back further, we find that the French form of the word comes from the Latin verb exigere , which means "to examine, test, or (literally) to drive out." Through the excavation of this ancient word, we are able to unearth the essence of the academic essay: to encourage students to test or examine their ideas concerning a particular topic.

Essays are shorter pieces of writing that often require the student to hone a number of skills such as close reading, analysis, comparison and contrast, persuasion, conciseness, clarity, and exposition. As is evidenced by this list of attributes, there is much to be gained by the student who strives to succeed at essay writing.

The purpose of an essay is to encourage students to develop ideas and concepts in their writing with the direction of little more than their own thoughts (it may be helpful to view the essay as the converse of a research paper). Therefore, essays are (by nature) concise and require clarity in purpose and direction. This means that there is no room for the student’s thoughts to wander or stray from his or her purpose; the writing must be deliberate and interesting.

This handout should help students become familiar and comfortable with the process of essay composition through the introduction of some common essay genres.

This handout includes a brief introduction to the following genres of essay writing:

• Expository essays
• Descriptive essays
• Narrative essays
• Argumentative (Persuasive) essays

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How to Write an Essay

Use the links below to jump directly to any section of this guide:

Essay Writing Fundamentals

How to prepare to write an essay, how to edit an essay, how to share and publish your essays, how to get essay writing help, how to find essay writing inspiration, resources for teaching essay writing.

Essays, short prose compositions on a particular theme or topic, are the bread and butter of academic life. You write them in class, for homework, and on standardized tests to show what you know. Unlike other kinds of academic writing (like the research paper) and creative writing (like short stories and poems), essays allow you to develop your original thoughts on a prompt or question. Essays come in many varieties: they can be expository (fleshing out an idea or claim), descriptive, (explaining a person, place, or thing), narrative (relating a personal experience), or persuasive (attempting to win over a reader). This guide is a collection of dozens of links about academic essay writing that we have researched, categorized, and annotated in order to help you improve your essay writing. 

Essays are different from other forms of writing; in turn, there are different kinds of essays. This section contains general resources for getting to know the essay and its variants. These resources introduce and define the essay as a genre, and will teach you what to expect from essay-based assessments.

Purdue OWL Online Writing Lab

One of the most trusted academic writing sites, Purdue OWL provides a concise introduction to the four most common types of academic essays.

"The Essay: History and Definition" (ThoughtCo)

This snappy article from ThoughtCo talks about the origins of the essay and different kinds of essays you might be asked to write. 

"What Is An Essay?" Video Lecture (Coursera)

The University of California at Irvine's free video lecture, available on Coursera, tells  you everything you need to know about the essay.

Wikipedia Article on the "Essay"

Wikipedia's article on the essay is comprehensive, providing both English-language and global perspectives on the essay form. Learn about the essay's history, forms, and styles.

"Understanding College and Academic Writing" (Aims Online Writing Lab)

This list of common academic writing assignments (including types of essay prompts) will help you know what to expect from essay-based assessments.

Before you start writing your essay, you need to figure out who you're writing for (audience), what you're writing about (topic/theme), and what you're going to say (argument and thesis). This section contains links to handouts, chapters, videos and more to help you prepare to write an essay.

How to Identify Your Audience

"Audience" (Univ. of North Carolina Writing Center)

This handout provides questions you can ask yourself to determine the audience for an academic writing assignment. It also suggests strategies for fitting your paper to your intended audience.

"Purpose, Audience, Tone, and Content" (Univ. of Minnesota Libraries)

This extensive book chapter from Writing for Success , available online through Minnesota Libraries Publishing, is followed by exercises to try out your new pre-writing skills.

"Determining Audience" (Aims Online Writing Lab)

This guide from a community college's writing center shows you how to know your audience, and how to incorporate that knowledge in your thesis statement.

"Know Your Audience" ( Paper Rater Blog)

This short blog post uses examples to show how implied audiences for essays differ. It reminds you to think of your instructor as an observer, who will know only the information you pass along.

How to Choose a Theme or Topic

"Research Tutorial: Developing Your Topic" (YouTube)

Take a look at this short video tutorial from the University of North Carolina at Chapel Hill to understand the basics of developing a writing topic.

"How to Choose a Paper Topic" (WikiHow)

This simple, step-by-step guide (with pictures!) walks you through choosing a paper topic. It starts with a detailed description of brainstorming and ends with strategies to refine your broad topic.

"How to Read an Assignment: Moving From Assignment to Topic" (Harvard College Writing Center)

Did your teacher give you a prompt or other instructions? This guide helps you understand the relationship between an essay assignment and your essay's topic.

"Guidelines for Choosing a Topic" (CliffsNotes)

This study guide from CliffsNotes both discusses how to choose a topic and makes a useful distinction between "topic" and "thesis."

How to Come Up with an Argument

"Argument" (Univ. of North Carolina Writing Center)

Not sure what "argument" means in the context of academic writing? This page from the University of North Carolina is a good place to start.

"The Essay Guide: Finding an Argument" (Study Hub)

This handout explains why it's important to have an argument when beginning your essay, and provides tools to help you choose a viable argument.

"Writing a Thesis and Making an Argument" (University of Iowa)

This page from the University of Iowa's Writing Center contains exercises through which you can develop and refine your argument and thesis statement.

"Developing a Thesis" (Harvard College Writing Center)

This page from Harvard's Writing Center collates some helpful dos and don'ts of argumentative writing, from steps in constructing a thesis to avoiding vague and confrontational thesis statements.

"Suggestions for Developing Argumentative Essays" (Berkeley Student Learning Center)

This page offers concrete suggestions for each stage of the essay writing process, from topic selection to drafting and editing. 

How to Outline your Essay

"Outlines" (Univ. of North Carolina at Chapel Hill via YouTube)

This short video tutorial from the University of North Carolina at Chapel Hill shows how to group your ideas into paragraphs or sections to begin the outlining process.

"Essay Outline" (Univ. of Washington Tacoma)

This two-page handout by a university professor simply defines the parts of an essay and then organizes them into an example outline.

"Types of Outlines and Samples" (Purdue OWL Online Writing Lab)

Purdue OWL gives examples of diverse outline strategies on this page, including the alphanumeric, full sentence, and decimal styles. 

"Outlining" (Harvard College Writing Center)

Once you have an argument, according to this handout, there are only three steps in the outline process: generalizing, ordering, and putting it all together. Then you're ready to write!

"Writing Essays" (Plymouth Univ.)

This packet, part of Plymouth University's Learning Development series, contains descriptions and diagrams relating to the outlining process.

"How to Write A Good Argumentative Essay: Logical Structure" (Criticalthinkingtutorials.com via YouTube)

This longer video tutorial gives an overview of how to structure your essay in order to support your argument or thesis. It is part of a longer course on academic writing hosted on Udemy.

Now that you've chosen and refined your topic and created an outline, use these resources to complete the writing process. Most essays contain introductions (which articulate your thesis statement), body paragraphs, and conclusions. Transitions facilitate the flow from one paragraph to the next so that support for your thesis builds throughout the essay. Sources and citations show where you got the evidence to support your thesis, which ensures that you avoid plagiarism. 

How to Write an Introduction

"Introductions" (Univ. of North Carolina Writing Center)

This page identifies the role of the introduction in any successful paper, suggests strategies for writing introductions, and warns against less effective introductions.

"How to Write A Good Introduction" (Michigan State Writing Center)

Beginning with the most common missteps in writing introductions, this guide condenses the essentials of introduction composition into seven points.

"The Introductory Paragraph" (ThoughtCo)

This blog post from academic advisor and college enrollment counselor Grace Fleming focuses on ways to grab your reader's attention at the beginning of your essay.

"Introductions and Conclusions" (Univ. of Toronto)

This guide from the University of Toronto gives advice that applies to writing both introductions and conclusions, including dos and don'ts.

"How to Write Better Essays: No One Does Introductions Properly" ( The Guardian )

This news article interviews UK professors on student essay writing; they point to introductions as the area that needs the most improvement.

How to Write a Thesis Statement

"Writing an Effective Thesis Statement" (YouTube)

This short, simple video tutorial from a college composition instructor at Tulsa Community College explains what a thesis statement is and what it does. 

"Thesis Statement: Four Steps to a Great Essay" (YouTube)

This fantastic tutorial walks you through drafting a thesis, using an essay prompt on Nathaniel Hawthorne's The Scarlet Letter as an example.

"How to Write a Thesis Statement" (WikiHow)

This step-by-step guide (with pictures!) walks you through coming up with, writing, and editing a thesis statement. It invites you think of your statement as a "working thesis" that can change.

"How to Write a Thesis Statement" (Univ. of Indiana Bloomington)

Ask yourself the questions on this page, part of Indiana Bloomington's Writing Tutorial Services, when you're writing and refining your thesis statement.

"Writing Tips: Thesis Statements" (Univ. of Illinois Center for Writing Studies)

This page gives plentiful examples of good to great thesis statements, and offers questions to ask yourself when formulating a thesis statement.

How to Write Body Paragraphs

"Body Paragraph" (Brightstorm)

This module of a free online course introduces you to the components of a body paragraph. These include the topic sentence, information, evidence, and analysis.

"Strong Body Paragraphs" (Washington Univ.)

This handout from Washington's Writing and Research Center offers in-depth descriptions of the parts of a successful body paragraph.

"Guide to Paragraph Structure" (Deakin Univ.)

This handout is notable for color-coding example body paragraphs to help you identify the functions various sentences perform.

"Writing Body Paragraphs" (Univ. of Minnesota Libraries)

The exercises in this section of Writing for Success  will help you practice writing good body paragraphs. It includes guidance on selecting primary support for your thesis.

"The Writing Process—Body Paragraphs" (Aims Online Writing Lab)

The information and exercises on this page will familiarize you with outlining and writing body paragraphs, and includes links to more information on topic sentences and transitions.

"The Five-Paragraph Essay" (ThoughtCo)

This blog post discusses body paragraphs in the context of one of the most common academic essay types in secondary schools.

How to Use Transitions

"Transitions" (Univ. of North Carolina Writing Center)

This page from the University of North Carolina at Chapel Hill explains what a transition is, and how to know if you need to improve your transitions.

"Using Transitions Effectively" (Washington Univ.)

This handout defines transitions, offers tips for using them, and contains a useful list of common transitional words and phrases grouped by function.

"Transitions" (Aims Online Writing Lab)

This page compares paragraphs without transitions to paragraphs with transitions, and in doing so shows how important these connective words and phrases are.

"Transitions in Academic Essays" (Scribbr)

This page lists four techniques that will help you make sure your reader follows your train of thought, including grouping similar information and using transition words.

"Transitions" (El Paso Community College)

This handout shows example transitions within paragraphs for context, and explains how transitions improve your essay's flow and voice.

"Make Your Paragraphs Flow to Improve Writing" (ThoughtCo)

This blog post, another from academic advisor and college enrollment counselor Grace Fleming, talks about transitions and other strategies to improve your essay's overall flow.

"Transition Words" (smartwords.org)

This handy word bank will help you find transition words when you're feeling stuck. It's grouped by the transition's function, whether that is to show agreement, opposition, condition, or consequence.

How to Write a Conclusion

"Parts of An Essay: Conclusions" (Brightstorm)

This module of a free online course explains how to conclude an academic essay. It suggests thinking about the "3Rs": return to hook, restate your thesis, and relate to the reader.

"Essay Conclusions" (Univ. of Maryland University College)

This overview of the academic essay conclusion contains helpful examples and links to further resources for writing good conclusions.

"How to End An Essay" (WikiHow)

This step-by-step guide (with pictures!) by an English Ph.D. walks you through writing a conclusion, from brainstorming to ending with a flourish.

"Ending the Essay: Conclusions" (Harvard College Writing Center)

This page collates useful strategies for writing an effective conclusion, and reminds you to "close the discussion without closing it off" to further conversation.

How to Include Sources and Citations

"Research and Citation Resources" (Purdue OWL Online Writing Lab)

Purdue OWL streamlines information about the three most common referencing styles (MLA, Chicago, and APA) and provides examples of how to cite different resources in each system.

EasyBib: Free Bibliography Generator

This online tool allows you to input information about your source and automatically generate citations in any style. Be sure to select your resource type before clicking the "cite it" button.

CitationMachine

Like EasyBib, this online tool allows you to input information about your source and automatically generate citations in any style. 

Modern Language Association Handbook (MLA)

Here, you'll find the definitive and up-to-date record of MLA referencing rules. Order through the link above, or check to see if your library has a copy.

Chicago Manual of Style

Here, you'll find the definitive and up-to-date record of Chicago referencing rules. You can take a look at the table of contents, then choose to subscribe or start a free trial.

How to Avoid Plagiarism

"What is Plagiarism?" (plagiarism.org)

This nonprofit website contains numerous resources for identifying and avoiding plagiarism, and reminds you that even common activities like copying images from another website to your own site may constitute plagiarism.

"Plagiarism" (University of Oxford)

This interactive page from the University of Oxford helps you check for plagiarism in your work, making it clear how to avoid citing another person's work without full acknowledgement.

"Avoiding Plagiarism" (MIT Comparative Media Studies)

This quick guide explains what plagiarism is, what its consequences are, and how to avoid it. It starts by defining three words—quotation, paraphrase, and summary—that all constitute citation.

"Harvard Guide to Using Sources" (Harvard Extension School)

This comprehensive website from Harvard brings together articles, videos, and handouts about referencing, citation, and plagiarism. 

Grammarly contains tons of helpful grammar and writing resources, including a free tool to automatically scan your essay to check for close affinities to published work. 

Noplag is another popular online tool that automatically scans your essay to check for signs of plagiarism. Simply copy and paste your essay into the box and click "start checking."

Once you've written your essay, you'll want to edit (improve content), proofread (check for spelling and grammar mistakes), and finalize your work until you're ready to hand it in. This section brings together tips and resources for navigating the editing process. 

"Writing a First Draft" (Academic Help)

This is an introduction to the drafting process from the site Academic Help, with tips for getting your ideas on paper before editing begins.

"Editing and Proofreading" (Univ. of North Carolina Writing Center)

This page provides general strategies for revising your writing. They've intentionally left seven errors in the handout, to give you practice in spotting them.

"How to Proofread Effectively" (ThoughtCo)

This article from ThoughtCo, along with those linked at the bottom, help describe common mistakes to check for when proofreading.

"7 Simple Edits That Make Your Writing 100% More Powerful" (SmartBlogger)

This blog post emphasizes the importance of powerful, concise language, and reminds you that even your personal writing heroes create clunky first drafts.

"Editing Tips for Effective Writing" (Univ. of Pennsylvania)

On this page from Penn's International Relations department, you'll find tips for effective prose, errors to watch out for, and reminders about formatting.

"Editing the Essay" (Harvard College Writing Center)

This article, the first of two parts, gives you applicable strategies for the editing process. It suggests reading your essay aloud, removing any jargon, and being unafraid to remove even "dazzling" sentences that don't belong.

"Guide to Editing and Proofreading" (Oxford Learning Institute)

This handout from Oxford covers the basics of editing and proofreading, and reminds you that neither task should be rushed. 

In addition to plagiarism-checkers, Grammarly has a plug-in for your web browser that checks your writing for common mistakes.

After you've prepared, written, and edited your essay, you might want to share it outside the classroom. This section alerts you to print and web opportunities to share your essays with the wider world, from online writing communities and blogs to published journals geared toward young writers.

Sharing Your Essays Online

Go Teen Writers

Go Teen Writers is an online community for writers aged 13 - 19. It was founded by Stephanie Morrill, an author of contemporary young adult novels. 

Tumblr is a blogging website where you can share your writing and interact with other writers online. It's easy to add photos, links, audio, and video components.

Writersky provides an online platform for publishing and reading other youth writers' work. Its current content is mostly devoted to fiction.

Publishing Your Essays Online

This teen literary journal publishes in print, on the web, and (more frequently), on a blog. It is committed to ensuring that "teens see their authentic experience reflected on its pages."

The Matador Review

This youth writing platform celebrates "alternative," unconventional writing. The link above will take you directly to the site's "submissions" page.

Teen Ink has a website, monthly newsprint magazine, and quarterly poetry magazine promoting the work of young writers.

The largest online reading platform, Wattpad enables you to publish your work and read others' work. Its inline commenting feature allows you to share thoughts as you read along.

Publishing Your Essays in Print

Canvas Teen Literary Journal

This quarterly literary magazine is published for young writers by young writers. They accept many kinds of writing, including essays.

The Claremont Review

This biannual international magazine, first published in 1992, publishes poetry, essays, and short stories from writers aged 13 - 19.

Skipping Stones

This young writers magazine, founded in 1988, celebrates themes relating to ecological and cultural diversity. It publishes poems, photos, articles, and stories.

The Telling Room

This nonprofit writing center based in Maine publishes children's work on their website and in book form. The link above directs you to the site's submissions page.

Essay Contests

Scholastic Arts and Writing Awards

This prestigious international writing contest for students in grades 7 - 12 has been committed to "supporting the future of creativity since 1923."

Society of Professional Journalists High School Essay Contest

An annual essay contest on the theme of journalism and media, the Society of Professional Journalists High School Essay Contest awards scholarships up to $1,000.

National YoungArts Foundation

Here, you'll find information on a government-sponsored writing competition for writers aged 15 - 18. The foundation welcomes submissions of creative nonfiction, novels, scripts, poetry, short story and spoken word.

Signet Classics Student Scholarship Essay Contest

With prompts on a different literary work each year, this competition from Signet Classics awards college scholarships up to $1,000.

"The Ultimate Guide to High School Essay Contests" (CollegeVine)

See this handy guide from CollegeVine for a list of more competitions you can enter with your academic essay, from the National Council of Teachers of English Achievement Awards to the National High School Essay Contest by the U.S. Institute of Peace.

Whether you're struggling to write academic essays or you think you're a pro, there are workshops and online tools that can help you become an even better writer. Even the most seasoned writers encounter writer's block, so be proactive and look through our curated list of resources to combat this common frustration.

Online Essay-writing Classes and Workshops

"Getting Started with Essay Writing" (Coursera)

Coursera offers lots of free, high-quality online classes taught by college professors. Here's one example, taught by instructors from the University of California Irvine.

"Writing and English" (Brightstorm)

Brightstorm's free video lectures are easy to navigate by topic. This unit on the parts of an essay features content on the essay hook, thesis, supporting evidence, and more.

"How to Write an Essay" (EdX)

EdX is another open online university course website with several two- to five-week courses on the essay. This one is geared toward English language learners.

Writer's Digest University

This renowned writers' website offers online workshops and interactive tutorials. The courses offered cover everything from how to get started through how to get published.

Writing.com

Signing up for this online writer's community gives you access to helpful resources as well as an international community of writers.

How to Overcome Writer's Block

"Symptoms and Cures for Writer's Block" (Purdue OWL)

Purdue OWL offers a list of signs you might have writer's block, along with ways to overcome it. Consider trying out some "invention strategies" or ways to curb writing anxiety.

"Overcoming Writer's Block: Three Tips" ( The Guardian )

These tips, geared toward academic writing specifically, are practical and effective. The authors advocate setting realistic goals, creating dedicated writing time, and participating in social writing.

"Writing Tips: Strategies for Overcoming Writer's Block" (Univ. of Illinois)

This page from the University of Illinois at Urbana-Champaign's Center for Writing Studies acquaints you with strategies that do and do not work to overcome writer's block.

"Writer's Block" (Univ. of Toronto)

Ask yourself the questions on this page; if the answer is "yes," try out some of the article's strategies. Each question is accompanied by at least two possible solutions.

If you have essays to write but are short on ideas, this section's links to prompts, example student essays, and celebrated essays by professional writers might help. You'll find writing prompts from a variety of sources, student essays to inspire you, and a number of essay writing collections.

Essay Writing Prompts

"50 Argumentative Essay Topics" (ThoughtCo)

Take a look at this list and the others ThoughtCo has curated for different kinds of essays. As the author notes, "a number of these topics are controversial and that's the point."

"401 Prompts for Argumentative Writing" ( New York Times )

This list (and the linked lists to persuasive and narrative writing prompts), besides being impressive in length, is put together by actual high school English teachers.

"SAT Sample Essay Prompts" (College Board)

If you're a student in the U.S., your classroom essay prompts are likely modeled on the prompts in U.S. college entrance exams. Take a look at these official examples from the SAT.

"Popular College Application Essay Topics" (Princeton Review)

This page from the Princeton Review dissects recent Common Application essay topics and discusses strategies for answering them.

Example Student Essays

"501 Writing Prompts" (DePaul Univ.)

This nearly 200-page packet, compiled by the LearningExpress Skill Builder in Focus Writing Team, is stuffed with writing prompts, example essays, and commentary.

"Topics in English" (Kibin)

Kibin is a for-pay essay help website, but its example essays (organized by topic) are available for free. You'll find essays on everything from  A Christmas Carol  to perseverance.

"Student Writing Models" (Thoughtful Learning)

Thoughtful Learning, a website that offers a variety of teaching materials, provides sample student essays on various topics and organizes them by grade level.

"Five-Paragraph Essay" (ThoughtCo)

In this blog post by a former professor of English and rhetoric, ThoughtCo brings together examples of five-paragraph essays and commentary on the form.

The Best Essay Writing Collections

The Best American Essays of the Century by Joyce Carol Oates (Amazon)

This collection of American essays spanning the twentieth century was compiled by award winning author and Princeton professor Joyce Carol Oates.

The Best American Essays 2017 by Leslie Jamison (Amazon)

Leslie Jamison, the celebrated author of essay collection  The Empathy Exams , collects recent, high-profile essays into a single volume.

The Art of the Personal Essay by Phillip Lopate (Amazon)

Documentary writer Phillip Lopate curates this historical overview of the personal essay's development, from the classical era to the present.

The White Album by Joan Didion (Amazon)

This seminal essay collection was authored by one of the most acclaimed personal essayists of all time, American journalist Joan Didion.

Consider the Lobster by David Foster Wallace (Amazon)

Read this famous essay collection by David Foster Wallace, who is known for his experimentation with the essay form. He pushed the boundaries of personal essay, reportage, and political polemic.

"50 Successful Harvard Application Essays" (Staff of the The Harvard Crimson )

If you're looking for examples of exceptional college application essays, this volume from Harvard's daily student newspaper is one of the best collections on the market.

Are you an instructor looking for the best resources for teaching essay writing? This section contains resources for developing in-class activities and student homework assignments. You'll find content from both well-known university writing centers and online writing labs.

Essay Writing Classroom Activities for Students

"In-class Writing Exercises" (Univ. of North Carolina Writing Center)

This page lists exercises related to brainstorming, organizing, drafting, and revising. It also contains suggestions for how to implement the suggested exercises.

"Teaching with Writing" (Univ. of Minnesota Center for Writing)

Instructions and encouragement for using "freewriting," one-minute papers, logbooks, and other write-to-learn activities in the classroom can be found here.

"Writing Worksheets" (Berkeley Student Learning Center)

Berkeley offers this bank of writing worksheets to use in class. They are nested under headings for "Prewriting," "Revision," "Research Papers" and more.

"Using Sources and Avoiding Plagiarism" (DePaul University)

Use these activities and worksheets from DePaul's Teaching Commons when instructing students on proper academic citation practices.

Essay Writing Homework Activities for Students

"Grammar and Punctuation Exercises" (Aims Online Writing Lab)

These five interactive online activities allow students to practice editing and proofreading. They'll hone their skills in correcting comma splices and run-ons, identifying fragments, using correct pronoun agreement, and comma usage.

"Student Interactives" (Read Write Think)

Read Write Think hosts interactive tools, games, and videos for developing writing skills. They can practice organizing and summarizing, writing poetry, and developing lines of inquiry and analysis.

This free website offers writing and grammar activities for all grade levels. The lessons are designed to be used both for large classes and smaller groups.

"Writing Activities and Lessons for Every Grade" (Education World)

Education World's page on writing activities and lessons links you to more free, online resources for learning how to "W.R.I.T.E.": write, revise, inform, think, and edit.

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• MLA Works Cited Page: Quick Tips & Examples
• 2024’s Top 10 Thesis Statement Generators (Free Included!)
• Top 10 Title Page Generators for Students in 2024
• What Is an Open Access Journal? 10 Myths Busted!
• Primary vs. Secondary Sources: Definition, Types & Examples
• How To Write a College Admissions Essay That Stands Out
• How to Write a Dissertation & Thesis Conclusion (+ Examples)
• APA Journal Citation: 7 Types, In-Text Rules, & Examples
• What Is Predatory Publishing and How to Avoid It!
• What Is Plagiarism? Meaning, Types & Examples
• How to Write a Strong Dissertation & Thesis Introduction
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• How to Cite a Website in MLA Format | 9th Edition Rules
• 10 Best AI Conclusion Generators (Features & Pricing)
• Top 10 Academic Editing Services of 2024 [with Pricing]

Additional Resources

• Plagiarism: How to avoid it in your thesis?
• Final Submission Checklist | Dissertation & Thesis
• 7 Useful MS Word Formatting Tips for Dissertation Writing
• How to Write a MEAL Paragraph: Writing Plan Explained in Detail
• Em Dash vs. En Dash vs. Hyphen: When to Use Which
• The 10 Best Citation Generators in 2024 | Free & Paid Plans!
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Citation and Referencing

• Citing References: APA, MLA, and Chicago
• How to Cite Sources in the MLA Format
• MLA Citation Examples: Cite Essays, Websites, Movies & More
• Citations and References: What Are They and Why They Matter
• APA Headings & Subheadings | Formatting Guidelines & Examples
• Formatting an APA Reference Page | Template & Examples
• Research Paper Format: APA, MLA, & Chicago Style
• How to Create an MLA Title Page | Format, Steps, & Examples
• How to Create an MLA Header | Format Guidelines & Examples
• MLA Annotated Bibliography | Guidelines and Examples
• APA Website Citation (7th Edition) Guide | Format & Examples
• APA Citation Examples: The Bible, TED Talk, PPT & More
• APA Header Format: 5 Steps & Running Head Examples
• APA Title Page Format Simplified | Examples + Free Template
• How to Write an Abstract in MLA Format: Tips & Examples
• 10 Best Free Plagiarism Checkers of 2024 [100% Free Tools]
• 5 Reasons to Cite Your Sources Properly | Avoid Plagiarism!

Dissertation Writing Guide

• Writing a Dissertation Proposal
• The Acknowledgments Section of a Dissertation
• The Table of Contents Page of a Dissertation
• The Introduction Chapter of a Dissertation
• The Literature Review of a Dissertation
• The Only Dissertation Toolkit You’ll Ever Need!
• 5 Thesis Writing Tips for Master Procrastinators
• How to Write a Dissertation | 5 Tips from Academic Editors
• The 5 Things to Look for in a Dissertation Editing Service
• Top 10 Dissertation Editing & Proofreading Services
• Why is it important to add references to your thesis?
• Thesis Editing | Definition, Scope & Standard Rates
• Expert Formatting Tips on MS Word for Dissertations
• A 7-Step Guide on How to Choose a Dissertation Topic
• 350 Best Dissertation Topic Ideas for All Streams in 2024
• A Guide on How to Write an Abstract for a Research Paper
• Dissertation Defense: What to Expect and How to Prepare
• Creating a Dissertation Title Page (Examples & Templates)

Essay Writing Guide

• Essential Research Tips for Essay Writing
• What Is a Mind Map? Free Mind Map Templates & Examples
• How to Write an Essay Outline: 5 Examples & Free Template
• How to Write an Essay Header: MLA and APA Essay Headers
• What Is an Essay? Structure, Parts, and Types

How to Write an Essay in 8 Simple Steps (Examples Included)

• 8 Types of Essays | Quick Summary with Examples
• Expository Essays | Step-by-Step Manual with Examples
• Narrative Essay | Step-by-Step Guide with Examples
• How to Write an Argumentative Essay (Examples Included)
• Guide to a Perfect Descriptive Essay [Examples & Outline Included]
• How to Start an Essay: 4 Introduction Paragraph Examples
• How to Write a Conclusion for an Essay (Examples Included!)
• How to Write an Impactful Personal Statement (Examples Included)
• Literary Analysis Essay: 5 Steps to a Perfect Assignment
• Compare and Contrast Essay | Quick Guide with Examples
• Top 10 Essay Writing Tools in 2024 | Plan, Write, Get Feedback
• Top AI Essay Writers in 2024: 10 Must-Haves
• 100 Best College Essay Topics & How to Pick the Perfect One!
• College Essay Format: Tips, Examples, and Free Template
• Structure of an Essay: 5 Tips to Write an Outstanding Essay

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• Tags: Academic Writing , Essay , Essay Writing

Knowing how to write an essay can help you out significantly in both, your academic and professional life. An essay is a highly versatile nonfiction piece of writing that not only tests your knowledge of a topic but also your literary and argumentative skills.     

Each essay requires the same basic process of planning, writing, and editing. Naturally, we’ve used these stages to group our steps on how to write an essay. So w ithout further ado, let’s get into it! Here are the eight steps to write an essay:

Stage 1: Planning

1. Pick an appropriate research topic

In certain cases, your teacher or professor may assign you a topic. However, in many cases, students have the freedom to select a topic of their choice. Make sure you choose a topic that you’re well versed in and have significant knowledge of. 

Having prior knowledge of the topic will help you determine the subsequent steps to write an essay. It will also make your research process considerably easier.

2. Form an appropriate thesis statement

A thesis statement is the central idea or premise your essay is based on. It is usually a sentence or two long and is included in the introduction of the essay. The scope of your thesis statement depends on the type of your essay and its length.

For instance, the scope of the thesis statement for a 500–1000 word school essay will be narrower than a 1000–5000 word college essay. A rule of thumb is that your essay topic should be broad enough to gather enough information, but narrow enough to address specific points and not be vague. Here’s an example: 

The invention of the airplane by the Wright Brothers in 1903 revolutionized transportation and paved the way for modern aviation. It represents a monumental achievement in human history that forever changed the course of human civilization.

3. Create an essay outline

Creating a well-organized essay outline not only gives structure and flow to your essay but also makes it more impactful and easy to understand. The idea is to collect the main points of information that support or elaborate on your thesis statement. You can also include references or examples under these main points. 

For example, if your thesis statement revolves around the invention of the airplane, your main points will include travel before the invention of the airplane, how it was invented, and its effects on modern-day travel. Take a look:

The Wright Brothers’ invention had a massive impact on modern-day travel. The subsequent growth of the aviation industry led to increased accessibility of air travel to the general public.

Stage 2: Writing

4. Write a comprehensive introduction

After creating the basic outline, it is important to know how to write an essay. Begin your essay by introducing your voice and point of view to the reader. An introduction is usually a paragraph or two long and consists of three main parts:

• Background information
• Thesis statement

Let’s better understand this with the help of an example:

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.

Let’s understand how to construct each of these sections in more detail.

A. Construct an attractive hook

The opening sentence of an essay, also known as the hook, should include a powerful or startling statement that captures the reader’s attention. Depending on the type of your essay, it can be an interesting fact, a surprising statistic, or an engaging anecdote. 

B. Provide relevant background information

While writing the introduction, it’s important to provide context or background information before including the thesis statement. The background information may include the time before a groundbreaking invention, the pros and cons of a significant discovery, or the short- and long-term effects of an event.

C. Edit the thesis statement

If you’ve constructed your thesis statement during the outlining stage, it’s time to edit it based on the background information you’ve provided. Observe the slight changes we’ve made to the scope of the thesis statement in the example above. This accommodates the bits of information we’ve provided in the background history.

5. Form relevant body paragraphs

Body paragraphs play a crucial role in supporting and expanding the central argument presented in the thesis statement. The number of body paragraphs depends on the type of essay as well as the scope of the thesis statement.

Most school-level essays contain three body paragraphs while college-level essays can vary in length depending on the assignment.

A well-crafted body paragraph consists of the following parts:

• A topic sentence
• Supporting information
• An analysis of the information
• A smooth transition to the next paragraph

Let’s understand this with the help of an example. 

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.

Here’s a detailed overview of how to construct each of these sections.

A. Construct appropriate topic sentences

A topic sentence is the title of the body paragraph that elaborates on the thesis statement. It is the main idea on which the body paragraph is developed. Ensure that each topic sentence is relevant to the thesis statement and makes the essay flow seamlessly. 

The order of topic sentences is key in creating an impactful essay. This order varies depending on the type of essay you choose to write. These sentences may be arranged chronologically, in the order of importance, or in a cause-and-effect format.

B. Provide supporting information

It is necessary to provide relevant supporting information and evidence to validate your topic statement. This may include examples, relevant statistics, history, or even personal anecdotes.

You should also remember to cite your sources wherever you use them to substantiate your arguments. Always give researchers and authors credit for their work!

C. Analyze the supporting information

After presenting the appropriate evidence, the next step is to conduct an in-depth analysis. Establish connections and provide additional details to strengthen the link between your topic sentence and the supporting information. 

Depending on the type of essay, this step may also involve sharing your subjective opinions and key takeaways.

D. Create a smooth transition

In case you plan to create multiple body paragraphs, it is crucial to create a seamless transition between them. Transitional statements not only make the essay less jarring to read but also guide the reader in the right direction.

However, these statements need not be too lengthy and complicated. Use words such as “however”, “in addition to”, and “therefore” to convey transitions.

6. Construct an impactful conclusion

An impactful conclusion creates a lasting impression on the mind of the reader. Although it varies in length depending on the specific essay, the conclusion is typically a paragraph long.

It consists of

• A restated thesis statement
• Summary of the main points
• The broader implications of the thesis statement

Here’s an example of a well-structured conclusion:

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.  

Let’s take a closer look at how to construct each of these sections.

A. Restate the thesis statement

Your conclusion should call back to your original argument or thesis statement.

However, this does not mean repeating the thesis statement as is. The essence of your argument should remain the same, but it should also be modified and evolved as per the information presented in your essay.

B. Summarize important points

A powerful conclusion not only lingers in the reader’s mind but also provokes thought. You can create a strong impression on the reader by highlighting the most impactful points of your essay.

C. State the greater implications

End your essay with the most powerful and impactful part: the larger perspective. This can‌ include a question you’d like to leave the reader with, the broader implications and impact of your thesis statement, or the long-term, lingering effects of your experience. 

Make sure to include no new evidence or arguments, or to undermine your findings in any way. 

Stage 3: Editing

7. Review your essay

Knowing how to write an essay is just one part of essay writing. Properly reviewing and editing your essay is just as important. Make sure to spend enough time going over your essay and adding any bits of information that you’ve missed. 

This is also a good time to make minor structural changes in your essay.

8. Thoroughly proofread your essay

After making the necessary structural changes, recheck your essay word by word. It is important to not only correct major grammatical and spelling errors but also minor errors regarding the phrasing or tone of voice.

You can either choose to do this by yourself, ask a friend for assistance, or hire an essay proofreading service to go over your writing. To construct a fool-proof, error-free essay, it is helpful to have a trained pair of eyes go over it. Professional proofreaders can spot errors that are not visible to most people and set the right tone for your essay. 

Now that you know the basics of how to write an essay, it’s time to learn about the specifics. Feel free to dig into the articles below and keep reading!

• How to Write an Essay Header in 4 Steps
• How to Write an Essay Outline
• What is an Expository Essay?
• How to Start an Essay

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Sample Essays

The breadth of Georgetown’s core curriculum means that students are required to write for a wide variety of academic disciplines. Below, we provide some student samples that exhibit the key features the most popular genres. When reading through these essays, we recommend paying attention to their 

1. Structure (How many paragraphs are there? Does the author use headers?) 

2. Argument (Is the author pointing out a problem, and/or proposing a solution?) 

3. Content (Does the argument principally rely on facts, theory, or logic?) and 

4. Style (Does the writer use first person? What is the relationship with the audience?)

Philosophy Paper

• Singer on the Moral Status of Animals

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• Problem of God
• Jewish Civilization
• Sacred Space and Time
• Phenolphthalein in Alkaline Solution

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Paragraphs & topic sentences.

A paragraph is a series of sentences that are organized and coherent, and are all related to a single topic. Almost every piece of writing you do that is longer than a few sentences should be organized into paragraphs. This is because paragraphs show a reader where the subdivisions of an essay begin and end, and thus help the reader see the organization of the essay and grasp its main points.

Paragraphs can contain many different kinds of information. A paragraph could contain a series of brief examples or a single long illustration of a general point. It might describe a place, character, or process; narrate a series of events; compare or contrast two or more things; classify items into categories; or describe causes and effects. Regardless of the kind of information they contain, all paragraphs share certain characteristics. One of the most important of these is a topic sentence.

TOPIC SENTENCES

A well-organized paragraph supports or develops a single controlling idea, which is expressed in a sentence called the topic sentence. A topic sentence has several important functions: it substantiates or supports an essay’s thesis statement; it unifies the content of a paragraph and directs the order of the sentences; and it advises the reader of the subject to be discussed and how the paragraph will discuss it. Readers generally look to the first few sentences in a paragraph to determine the subject and perspective of the paragraph. That’s why it’s often best to put the topic sentence at the very beginning of the paragraph. In some cases, however, it’s more effective to place another sentence before the topic sentence—for example, a sentence linking the current paragraph to the previous one, or one providing background information.

Although most paragraphs should have a topic sentence, there are a few situations when a paragraph might not need a topic sentence. For example, you might be able to omit a topic sentence in a paragraph that narrates a series of events, if a paragraph continues developing an idea that you introduced (with a topic sentence) in the previous paragraph, or if all the sentences and details in a paragraph clearly refer—perhaps indirectly—to a main point. The vast majority of your paragraphs, however, should have a topic sentence.

PARAGRAPH STRUCTURE

Most paragraphs in an essay have a three-part structure—introduction, body, and conclusion. You can see this structure in paragraphs whether they are narrating, describing, comparing, contrasting, or analyzing information. Each part of the paragraph plays an important role in communicating your meaning to your reader.

Introduction : the first section of a paragraph; should include the topic sentence and any other sentences at the beginning of the paragraph that give background information or provide a transition.

Body : follows the introduction; discusses the controlling idea, using facts, arguments, analysis, examples, and other information.

Conclusion : the final section; summarizes the connections between the information discussed in the body of the paragraph and the paragraph’s controlling idea.

The following paragraph illustrates this pattern of organization. In this paragraph the topic sentence and concluding sentence (CAPITALIZED) both help the reader keep the paragraph’s main point in mind.

SCIENTISTS HAVE LEARNED TO SUPPLEMENT THE SENSE OF SIGHT IN NUMEROUS WAYS. In front of the tiny pupil of the eye they put , on Mount Palomar, a great monocle 200 inches in diameter, and with it see 2000 times farther into the depths of space. Or they look through a small pair of lenses arranged as a microscope into a drop of water or blood, and magnify by as much as 2000 diameters the living creatures there, many of which are among man’s most dangerous enemies. Or , if we want to see distant happenings on earth, they use some of the previously wasted electromagnetic waves to carry television images which they re-create as light by whipping tiny crystals on a screen with electrons in a vacuum. Or they can bring happenings of long ago and far away as colored motion pictures, by arranging silver atoms and color-absorbing molecules to force light waves into the patterns of original reality. Or if we want to see into the center of a steel casting or the chest of an injured child, they send the information on a beam of penetrating short-wave X rays, and then convert it back into images we can see on a screen or photograph. THUS ALMOST EVERY TYPE OF ELECTROMAGNETIC RADIATION YET DISCOVERED HAS BEEN USED TO EXTEND OUR SENSE OF SIGHT IN SOME WAY. George Harrison, “Faith and the Scientist”

In a coherent paragraph, each sentence relates clearly to the topic sentence or controlling idea, but there is more to coherence than this. If a paragraph is coherent, each sentence flows smoothly into the next without obvious shifts or jumps. A coherent paragraph also highlights the ties between old information and new information to make the structure of ideas or arguments clear to the reader.

Along with the smooth flow of sentences, a paragraph’s coherence may also be related to its length. If you have written a very long paragraph, one that fills a double-spaced typed page, for example, you should check it carefully to see if it should start a new paragraph where the original paragraph wanders from its controlling idea. On the other hand, if a paragraph is very short (only one or two sentences, perhaps), you may need to develop its controlling idea more thoroughly, or combine it with another paragraph.

A number of other techniques that you can use to establish coherence in paragraphs are described below.

Repeat key words or phrases. Particularly in paragraphs in which you define or identify an important idea or theory, be consistent in how you refer to it. This consistency and repetition will bind the paragraph together and help your reader understand your definition or description.

Create parallel structures. Parallel structures are created by constructing two or more phrases or sentences that have the same grammatical structure and use the same parts of speech. By creating parallel structures you make your sentences clearer and easier to read. In addition, repeating a pattern in a series of consecutive sentences helps your reader see the connections between ideas. In the paragraph above about scientists and the sense of sight, several sentences in the body of the paragraph have been constructed in a parallel way. The parallel structures (which have been emphasized ) help the reader see that the paragraph is organized as a set of examples of a general statement.

Be consistent in point of view, verb tense, and number. Consistency in point of view, verb tense, and number is a subtle but important aspect of coherence. If you shift from the more personal "you" to the impersonal “one,” from past to present tense, or from “a man” to “they,” for example, you make your paragraph less coherent. Such inconsistencies can also confuse your reader and make your argument more difficult to follow.

Use transition words or phrases between sentences and between paragraphs. Transitional expressions emphasize the relationships between ideas, so they help readers follow your train of thought or see connections that they might otherwise miss or misunderstand. The following paragraph shows how carefully chosen transitions (CAPITALIZED) lead the reader smoothly from the introduction to the conclusion of the paragraph.

I don’t wish to deny that the flattened, minuscule head of the large-bodied "stegosaurus" houses little brain from our subjective, top-heavy perspective, BUT I do wish to assert that we should not expect more of the beast. FIRST OF ALL, large animals have relatively smaller brains than related, small animals. The correlation of brain size with body size among kindred animals (all reptiles, all mammals, FOR EXAMPLE) is remarkably regular. AS we move from small to large animals, from mice to elephants or small lizards to Komodo dragons, brain size increases, BUT not so fast as body size. IN OTHER WORDS, bodies grow faster than brains, AND large animals have low ratios of brain weight to body weight. IN FACT, brains grow only about two-thirds as fast as bodies. SINCE we have no reason to believe that large animals are consistently stupider than their smaller relatives, we must conclude that large animals require relatively less brain to do as well as smaller animals. IF we do not recognize this relationship, we are likely to underestimate the mental power of very large animals, dinosaurs in particular. Stephen Jay Gould, “Were Dinosaurs Dumb?”

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The 25 Greatest Essay Collections of All Time

Today marks the release of Aleksandar Hemon’s excellent book of personal essays, The Book of My Lives , which we loved, and which we’re convinced deserves a place in the literary canon. To that end, we were inspired to put together our list of the greatest essay collections of all time, from the classic to the contemporary, from the personal to the critical. In making our choices, we’ve steered away from posthumous omnibuses (Michel de Montaigne’s Complete Essays , the collected Orwell, etc.) and multi-author compilations, and given what might be undue weight to our favorite writers (as one does). After the jump, our picks for the 25 greatest essay collections of all time. Feel free to disagree with us, praise our intellect, or create an entirely new list in the comments.

The Book of My Lives , Aleksandar Hemon

Hemon’s memoir in essays is in turns wryly hilarious, intellectually searching, and deeply troubling. It’s the life story of a fascinating, quietly brilliant man, and it reads as such. For fans of chess and ill-advised theme parties and growing up more than once.

Slouching Towards Bethlehem , Joan Didion

Well, obviously. Didion’s extraordinary book of essays, expertly surveying both her native California in the 1960s and her own internal landscape with clear eyes and one eyebrow raised ever so slightly. This collection, her first, helped establish the idea of journalism as art, and continues to put wind in the sails of many writers after her, hoping to move in that Didion direction.

Pulphead , John Jeremiah Sullivan

This was one of those books that this writer deemed required reading for all immediate family and friends. Sullivan’s sharply observed essays take us from Christian rock festivals to underground caves to his own home, and introduce us to 19-century geniuses, imagined professors and Axl Rose. Smart, curious, and humane, this is everything an essay collection should be.

The Boys of My Youth , Jo Ann Beard

Another memoir-in-essays, or perhaps just a collection of personal narratives, Jo Ann Beard’s award-winning volume is a masterpiece. Not only does it include the luminous, emotionally destructive “The Fourth State of the Matter,” which we’ve already implored you to read , but also the incredible “Bulldozing the Baby,” which takes on a smaller tragedy: a three-year-old Beard’s separation from her doll Hal. “The gorgeous thing about Hal,” she tells us, “was that not only was he my friend, he was also my slave. I made the majority of our decisions, including the bathtub one, which in retrospect was the beginning of the end.”

Consider the Lobster , David Foster Wallace

This one’s another “duh” moment, at least if you’re a fan of the literary essay. One of the most brilliant essayists of all time, Wallace pushes the boundaries (of the form, of our patience, of his own brain) and comes back with a classic collection of writing on everything from John Updike to, well, lobsters. You’ll laugh out loud right before you rethink your whole life. And then repeat.

Notes of a Native Son , James Baldwin

Baldwin’s most influential work is a witty, passionate portrait of black life and social change in America in the 1940s and early 1950s. His essays, like so many of the greats’, are both incisive social critiques and rigorous investigations into the self, told with a perfect tension between humor and righteous fury.

Naked , David Sedaris

His essays often read more like short stories than they do social criticism (though there’s a healthy, if perhaps implied, dose of that slippery subject), but no one makes us laugh harder or longer. A genius of the form.

Against Interpretation , Susan Sontag

This collection, Sontag’s first, is a dazzling feat of intellectualism. Her essays dissect not only art but the way we think about art, imploring us to “reveal the sensuous surface of art without mucking about in it.” It also contains the brilliant “Notes on ‘Camp,'” one of our all-time favorites.

The Common Reader , Virginia Woolf

Woolf is a literary giant for a reason — she was as incisive and brilliant a critic as she was a novelist. These witty essays, written for the common reader (“He is worse educated, and nature has not gifted him so generously. He reads for his own pleasure rather than to impart knowledge or correct the opinions of others. Above all, he is guided by an instinct to create for himself, out of whatever odds and ends he can come by, some kind of whole- a portrait of a man, a sketch of an age, a theory of the art of writing”), are as illuminating and engrossing as they were when they were written.

Teaching a Stone to Talk , Annie Dillard

This is Dillard’s only book of essays, but boy is it a blazingly good one. The slender volume, filled with examinations of nature both human and not, is deft of thought and tongue, and well worth anyone’s time. As the Chicago Sun-Times ‘s Edward Abbey gushed, “This little book is haloed and informed throughout by Dillard’s distinctive passion and intensity, a sort of intellectual radiance that reminds me both Thoreau and Emily Dickinson.”

Thirteen Ways of Looking at a Black Man , Henry Louis Gates Jr.

In this eloquent volume of essays, all but one of which were originally published in the New Yorker , Gates argues against the notion of the singularly representable “black man,” preferring to represent him in a myriad of diverse profiles, from James Baldwin to Colin Powell. Humane, incisive, and satisfyingly journalistic, Gates cobbles together the ultimate portrait of the 20th-century African-American male by refusing to cobble it together, and raises important questions about race and identity even as he entertains.

Otherwise Known As the Human Condition , Geoff Dyer

This book of essays, which won the National Book Critics Circle Award in the year of its publication, covers 25 years of the uncategorizable, inimitable Geoff Dyer’s work — casually erudite and yet liable to fascinate anyone wandering in the door, witty and breathing and full of truth. As Sam Lipsyte said, “You read Dyer for his caustic wit, of course, his exquisite and perceptive crankiness, and his deep and exciting intellectual connections, but from these enthralling rants and cultural investigations there finally emerges another Dyer, a generous seeker of human feeling and experience, a man perhaps closer than he thinks to what he believes his hero Camus achieved: ‘a heart free of bitterness.'”

Art and Ardor , Cynthia Ozick

Look, Cynthia Ozick is a genius. One of David Foster Wallace’s favorite writers, and one of ours, Ozick has no less than seven essay collections to her name, and we could have chosen any one of them, each sharper and more perfectly self-conscious than the last. This one, however, includes her stunner “A Drugstore in Winter,” which was chosen by Joyce Carol Oates for The Best American Essays of the Century , so we’ll go with it.

No More Nice Girls , Ellen Willis

The venerable Ellen Willis was the first pop music critic for The New Yorker , and a rollicking anti-authoritarian, feminist, all-around bad-ass woman who had a hell of a way with words. This collection examines the women’s movement, the plight of the aging radical, race relations, cultural politics, drugs, and Picasso. Among other things.

The War Against Cliché , Martin Amis

As you know if you’ve ever heard him talk , Martin Amis is not only a notorious grouch but a sharp critical mind, particularly when it comes to literature. That quality is on full display in this collection, which spans nearly 30 years and twice as many subjects, from Vladimir Nabokov (his hero) to chess to writing about sex. Love him or hate him, there’s no denying that he’s a brilliant old grump.

Cultural Amnesia: Necessary Memories From History and the Arts , Clive James

James’s collection is a strange beast, not like any other essay collection on this list but its own breed. An encyclopedia of modern culture, the book collects 110 new biographical essays, which provide more than enough room for James to flex his formidable intellect and curiosity, as he wanders off on tangents, anecdotes, and cultural criticism. It’s not the only who’s who you need, but it’s a who’s who you need.

I Feel Bad About My Neck: And Other Thoughts on Being a Woman , Nora Ephron

Oh Nora, we miss you. Again, we could have picked any of her collections here — candid, hilarious, and willing to give it to you straight, she’s like a best friend and mentor in one, only much more interesting than any of either you’ve ever had.

Arguably , Christopher Hitchens

No matter what you think of his politics (or his rhetorical strategies), there’s no denying that Christopher Hitchens was one of the most brilliant minds — and one of the most brilliant debaters — of the century. In this collection, packed with cultural commentary, literary journalism, and political writing, he is at his liveliest, his funniest, his exactingly wittiest. He’s also just as caustic as ever.

The Solace of Open Spaces , Gretel Ehrlich

Gretel Ehrlich is a poet, and in this collection, you’ll know it. In 1976, she moved to Wyoming and became a cowherd, and nearly a decade later, she published this lovely, funny set of essays about rural life in the American West.”Keenly observed the world is transformed,” she writes. “The landscape is engorged with detail, every movement on it chillingly sharp. The air between people is charged. Days unfold, bathed in their own music. Nights become hallucinatory; dreams, prescient.”

The Braindead Megaphone , George Saunders

Saunders may be the man of the moment, but he’s been at work for a long while, and not only on his celebrated short stories. His single collection of essays applies the same humor and deliciously slant view to the real world — which manages to display nearly as much absurdity as one of his trademark stories.

Against Joie de Vivre , Phillip Lopate

“Over the years,” the title essay begins, “I have developed a distaste for the spectacle of joie de vivre , the knack of knowing how to live.” Lopate goes on to dissect, in pleasantly sardonic terms, the modern dinner party. Smart and thought-provoking throughout (and not as crotchety as all that), this collection is conversational but weighty, something to be discussed at length with friends at your next — oh well, you know.

Sex and the River Styx , Edward Hoagland

Edward Hoagland, who John Updike deemed “the best essayist of my generation,” has a long and storied career and a fat bibliography, so we hesitate to choose such a recent installment in the writer’s canon. Then again, Garrison Keillor thinks it’s his best yet , so perhaps we’re not far off. Hoagland is a great nature writer (name checked by many as the modern Thoreau) but in truth, he’s just as fascinated by humanity, musing that “human nature is interstitial with nature, and not to be shunned by a naturalist.” Elegant and thoughtful, Hoagland may warn us that he’s heading towards the River Styx, but we’ll hang on to him a while longer.

Changing My Mind , Zadie Smith

Smith may be best known for her novels (and she should be), but to our eyes she is also emerging as an excellent essayist in her own right, passionate and thoughtful. Plus, any essay collection that talks about Barack Obama via Pygmalion is a winner in our book.

My Misspent Youth , Meghan Daum

Like so many other writers on this list, Daum dives head first into the culture and comes up with meat in her mouth. Her voice is fresh and her narratives daring, honest and endlessly entertaining.

The White Album , Joan Didion

Yes, Joan Didion is on this list twice, because Joan Didion is the master of the modern essay, tearing at our assumptions and building our world in brisk, clever strokes. Deal.

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Literary Theory and Criticism

Home › Literary Terms and Techniques › Russian Formalism

Russian Formalism

By NASRULLAH MAMBROL on October 19, 2020 • ( 1 )

Russian Formalism, a movement of literary criticism and interpretation, emerged in Russia during the second decade of the twentieth century and remained active until about 1930. Members of what can be loosely referred to as the Formalist school emphasized first and foremost the autonomous nature of literature and consequently the proper study of literature as neither a reflection of the life of its author nor as byproduct of the historical or cultural milieu in which it was created. In this respect, proponents of a formalist approach to literature attempted not only to isolate and define the “formal” properties of poetic language (in both poetry and prose) but also to study the way in which certain aesthetically motivated devices (e.g., defamiliarization [ ostranenie ]) determined the literariness or artfulness of an object.

From its inception, the Russian Formalist movement consisted of two distinct scholarly groups, both outside the academy: the Moscow Linguistic Circle, which was founded by the linguist Roman Jakobson in 1915 and included Grigorii Vinokur and Petr Bogatyrev, and the Petersburg OPOJAZ ( O bščestvo izučenija PO ètičeskogo JAZ yka , “Society for the Study of Poetic Language”), which came into existence a year later and was known for scholars such as Viktor Shklovsky, Iurii Tynianov, Boris Eikhenbaum, Boris Tomashevskii, and Victor Vinogradov. (It should be noted that the term “formalist” was initially applied pejoratively to the Moscow Linguistic Circle and OPOJAZ.) Although the leading figures in the Russian Formalist movement tended to disagree with one another on what constituted formalism, they were united in their attempt to move beyond the psychologism and biographism that pervaded nineteenth-century Russian literary scholarship. Although the Symbolists had partially succeeded in redressing the imbalance of content over form, they “could not rid themselves of the notorious theory of the ‘harmony of form and content’ even though it clearly contradicted their bent for formal experimentation and discredited it by making it seem mere ‘aestheticism'” (Eikhenbaum, “Theory” 112).

Viktor Shklovsky/The Daily Star

In many ways, however, the Formalists remained indebted to two leading nineteenth-century literary and linguistic theoreticians, Aleksandr Veselovskii (1838- 1906) and Aleksander Potebnia (1835-81). Veselovskii’s work in comparative studies of literature and folklore as well as in the theory of literary evolution attracted the attention of the Formalists (particularly Shklovsky, Eikhenbaum, and Vladimir Propp), who found much of interest in his positivist notions of literary history and the evolution of poetic forms. More specifically, as Peter Steiner argues, “mechanistic Formalism was in some respects a mirror image of Veselovskii’s poetics” insofar as both stressed the “genetic” aspect in their theories of literary evolution.

Like the Formalists, Potebnia made a careful distinction between practical and poetic language. But his wellknown maxim that “art is thinking in images” (an idea, it should be noted, that was promoted earlier by midnineteenth- century literary critics Vissarion Belinskii and Nikolai Chemyshevskii) made him an object of derision in Formalist writings. Shklovsky categorically objected to Potebnia’s notion of the image, arguing that since the same image could be found in various writers’ works, the image itself was less important than the techniques used by poets to arrange images. Shklovsky further noted that images were common in both prosaic (common, everyday language) and poetic language; hence, the image could not be considered uniquely essential to verbal art. Potebnia’s theories led to “far-fetched interpretations” and, what is more important, knowledge about the object itself rather than the poetic de vice(s) that enabled one to perceive the object (Shklovsky, “Art” 6). Above all, it was “literariness,” rather than either image or referent, that the Formalists pursued in their studies of poetry and prose. With slight variations, literariness in Formalism denoted a particular essential function present in the relationship or system of poetic works called literature.

The personal and intellectual cooperation of the Moscow Linguistic Circle and OPOJAZ yielded several volumes of essays (Sborniki po teorii poeticheskogo iazyka [Studies in the theory of poetic language], 6 vols., 1916- 23). Given that many of the Formalists had been students of the Polish linguist Jan Baudoin de Courtenay and were well apprised of the latest developments made in linguistics by the Swiss linguist Ferdinand de Saussure , it is not surprising that most of the essays in these volumes reflect a predominant interest in linguistics (see Jakubinskii, “O zvukakh stikhotvomago iazyka” [On the sounds of poetic language], 1916; and Brik, “Zvukovye povtory” [Sound repetitions], 1917). But while members of the Moscow Linguistic Circle considered the study of poetics to fall under the broader category of linguistics, OPOJAZ Formalists (such as Eikhenbaum or Viktor Zhirmunskii in “Zadachi pofetiki” [The tasks of poetics], Nachala, 1921) insisted that the two be kept distinct. Shklovsky, for instance, remained predominantly concerned with literary theory (the laws of expenditure and economy in poetic language, general laws of plots and general laws of perception) rather than with linguistics, while Eikhenbaum and Tynianov are best known for their work as literary historians. Other Formalists, such as Tomashevskii (who was also interested in prose) and Jakobson, approached meter and rhythm in verse with a statistical approach and attempted to isolate the metrical laws in operation.

More specifically, the Formalists understood poetic language as operating both synchronically and, as Tzvetan Todorov notes, in an autonomous or “autotelic” fashion. The Formalists consistently stressed the internal mechanics of the poetic work over the semantics of extraliterary systems , that is, politics, ideology, economics, psychology, and so on. Thus, Roman Jakobson’s 1921 analysis of futurist poet Velemir Khlebnikov, and especially his notion of the samovitoe slovo (“self-made word”) and zaum (“transrational language”), serves essentially to illustrate the proposition that poetry is an utterance directed toward “expression” ( Noveishaia russkaia potziia [Recent Russian poetry]). Indeed, the futurist exploration of the exotic realm of zaum parallels the Formalist preoccupation with sound in poetic language at the phonemic level. In a similar way, essays such as Eikhenbaum’s “How Gogol’s ‘Overcoat’ Is Made” (1919, trans., 1978), which examined narrative devices and acoustic wordplay in the text without drawing any extraliterary, sociocultural conclusions, emphasized the autonomous, selfreferential nature of verbal art. One of the most important of the devices Eikhenbaum described in that essay was skaz. Skaz , which in Russian is the root of the verb skazat’, “to tell,” may be compared to “free indirect discourse” (in German, erlebte Rede ), which is marked by the grammar of third-person narration and the style, tone, and syntax of direct speech on the part of the character.

Certain Formalists were not quite so eager to dismiss issues of content, however: Zhirmunskii maintained an interest in the thematic level of the poetic work; Tynianov considered an understanding of byt , the content of everyday, common language and experience as opposed to consciously poetic language, essential to any analysis of a poetic work. Rather than resolving the issue of form versus content, the Formalists tended instead to downplay it or to reframe it in new terms. For example, Eikhenbaum asserted the need to “destroy these traditional correlatives [form and content] and so to enrich the idea of form with new significance” (Eikhenbaum, “Theory” 115). “Technique,” continued Eikhenbaum in the same essay, is “much more significant in the long-range evolution of formalism than is the notion of ‘form'” (115). In his defense of the primacy of form, Shklovsky explained that “a new form appears not in order to express a new content, but in order to replace an old form, which has already lost its artistic value” (“Connection” 53).

Rejecting the subjectivism of nineteenth-century literary scholarship, the Formalists insisted that the study of literature be approached by means of a scientific and objective methodology. Their emphasis upon the scientific study of poetic language may be viewed in four ways. First, it may be traced to the more general nineteenth- century West European turn toward classification, genealogy, and evolution in the human sciences. In his best-known work, Morphology of the Folktale (1928, trans., 1958), Propp, a somewhat more peripheral yet not unimportant figure in the Formalist movement, employed the rhetoric and methodology of Johann Wolfgang von Goethe and Georges Cuvier in his attempt to isolate certain regularly recurring features of the folktale. Second, the Russian Formalists viewed their work as a direct challenge to what they perceived as the subjectivism and mysticism inherent in the Symbolist movement (i.e., the literature and criticism of Aleksander Blok, Bely, and Viacheslav Ivanov, among others). Tomashevskii went so far as to denounce the futurists as well as the Symbolists, claiming that it was futurism, especially, that “intensified to a hyperbolic clarity those features which had previously appeared only in hidden, mystically masked forms of Symbolism” (“Literature” 54). Third, Formalism sought to create a professional discipline independent of nineteenth-century configurations of university scholarship. And fourth, the Formalist shift toward science may also be considered as a response to the broader (and more radical) social, economic, and political transformations that the influx of industry and new technology helped to precipitate throughout early twentieth-century Russia. Not surprisingly, the poetic fetishization of the machine found in futurist poetics and avant-garde aesthetics quickly made its way into Formalist thought. Shklovsky’s analyses of poetic works are distinguished by his reliance upon the metaphor of the machine (Steiner 44-67) and the rhetoric of technology to account for such poetic devices and formal laws as automatization and defamiliarization. Ironically, objectives of scientificity in Formalist literary study were held up as an ideal, but only insofar as the Formalists believed scientificity would shield their theory from external influences, since everything outside the poetic system could only corrupt and obfuscate data extrapolated from the text. By 1930 it was clear that this was not to be the case.

For Shklovsky, “literariness” is a function of the process of defamiliarization, which involves “estranging,” “slowing down,” or “prolonging” perception and thereby impeding the reader’s habitual, automatic relation to objects, situations, and poetic form itself (see “Art” 12). According to Shklovsky, the difficulty involved in the process is an aesthetic end in itself, because it provides a heightened sensation of life. Indeed, the process of “laying bare” the poetic device, such as the narrative selfreflexiveness of Laurence Sterne’s Tristram Shandy and its emphasis on the distinction between story and plot (see Theory of Prose ), remained for Shklovsky one of the primary signs of artistic self-consciousness.

The notion that new literary production always involves a series of deliberate, self-conscious deviations from the poetic norms of the preceding genre and/or literary movement remained fundamental to Shklovsky’s and other Formalists’ theories of literary evolution. Tynianov’s and Jakobson’s notion of the “dominant” approximates Shklovsky’s emphasis on defamiliarization, albeit as a feature of the diachronic system, inasmuch as it demands that other devices in the poetic text be “transformed” or pushed to the background to allow for the “foregrounding” of the dominant device. The function of the dominant in the service of literary evolution included the replacement of canonical forms and genres by new forms, which in turn would become canonized and, likewise, replaced by still newer forms.

Toward the end of the Formalist period, the emphasis on the synchronic nature of poetic devices was gradually mediated by a growing realization that literature and language should be considered within their diachronic contexts as well. Some critics— Krystyna Pomorska, Fredric Jameson , Jurij Striedter— regard this later shift in Formalist theory (as described particularly in the works of Tynianov) toward establishing a set of systemic relations between the internal and external organization of the poetic work as protostructuralist. However, newly emerging literary groups such as the Bakhtin Linguistic Circle ( M.M. Bakhtin , Pavel Medvedev, Valentin Voloshinov) and Prague School of Structuralism (Jan Mukarovsky) found the Formalists’ attempts to incorporate a diachronic view of the literary work insufficient. Critics (e.g., Medvedev) attacked the Formalists for refusing to address social and ideological concerns in poetic language. The same criticism, of course, was leveled at the Formalists by the Soviet state (especially by Anatolii Lunacharskii and Lev Trotskii), and with much more serious consequences. Various individuals and groups advocating or at least incorporating a Marxist perspective on literature, including members of the “sociological school” as well as the Bakhtin school in the 1920s, attacked the Formalists for neglecting the social and ideological discourses impinging upon the structure and function of the poetic work. In The Formal Method in Literary Scholarship (1928), Medvedev dismisses the Formalists primarily for failing to provide an adequate sociological and philosophical justification for their theories. While many critics (e.g., Victor Erlich) approach Bakhtin’s work as distinct from that of the Formalist school, others (e.g., Gary Saul Morson and Striedter) view Bakhtin’s work as historically connected to the broader aims and implications of the Russian Formalist movement. Despite Tynianov and Jakobson’s attempt to connect the aims of Formalism to the broader issues of culture (as an entire complex of systems), Russian Formalism remained committed to the idea that “literariness” alone, rather than the referent and its various contingencies, historical and otherwise, was the proper focus of literary scholarship.

Perhaps the ongoing, seemingly irresoluble debate over what constitutes Formalism (both then and now) arises in part from what Jurij Striedter describes as the “dialogic” nature of Formalism itself. The Formalists, especially Tynianov, based their theories of literary evolution (and their own role therein) largely upon Hegel ‘s dialectical method. In his summary of the contributions of the Formalist movement, Eikhenbaum ironically concluded that “when we have a theory that explains everything, a ready-made theory explaining all past and future events and therefore needing neither evolution nor anything like it—then we must recognize that the formal method has come to an end” (“Theory” 139). Eikhenbaum’s vision of a type of Formalist dialectics suggests the dynamic character of the movement as a whole, though external political pressure was surely also a factor by the time Eikhenbaum wrote his essay in 1926.

Shklovsky’s 1930 denunciation of Formalism signaled not just that political pressures had worsened but that the de facto end of the Formalist movement had arrived. Even before Shklovsky was forced to abandon Formalism to political exigencies, the Moscow Linguistic Circle and OPOJAZ had already dissolved in the early 1920s, the former in 1920 with the departure of its founder, Roman Jakobson, for Czechoslovakia, the latter in 1923. With the banning of all artistic organizations (including the various associations of proletarian writers) and the introduction of “socialist realism” as the new, official socialist literature of the Soviet Union in 1932, the Russian Formalist movement came to an official close.

The Formalist approach continued to make itself felt, however, in European and, later, American literary scholarship (though, it should be noted, the formalism of new criticism possessed no direct relation to Russian Formalism). The immediate heirs to the Formalist legacy were the Prague Linguistic Circle (founded in 1926 by Jakobson and a group of Czech linguists) and the Bakhtin Linguistic Circle. The contributions of the Prague Linguistic Circle (especially of Mukarovsky) eventually made their way into the literary discourses of French structuralism. The work of French structural anthropologist Claude Lévi-Strauss echoes and acknowledges the work of Propp and, to a lesser extent, Tynianov’s interest in cultural and literary systems. The Bakhtin Linguistic Circle’s work (which first attracted the attention of Western scholars in the 1970s) extends several Formalist concerns, not the least of which deal with narrative theory and discourse in the novel. The development of structural-semiotic research and the emergence of the Tartu–Moscow Semiotic School in the 1960s (see the writings of such scholars as Viacheslav Ivanov, Iurii Lotman, Vladimir Toporov, Boris Gasparov, and Boris Uspenskii, to name just a few) may also be viewed as an extension of the aims and interests of both formalism and structuralism. Specifically, semiotic research continues to renew in various ways the Formalist emphasis upon language and the devices therein that function to generate meaning as sign systems.

In the United States, the Formalist approach found a sympathetic cousin in New Criticism, which emphasized, though in organic forms actually reminiscent of Russian Symbolism, the literary text as a discrete entity whose meaning and interpretation need not be contaminated by authorial intention, historical conditions, or ideological demands. Poststructuralism (and  Deconstruction ) in the 1970s and 1980s, though a partial critique of the organic notions of form in much American New Criticism, nevertheless extended certain Formalist assumptions. Figures as diverse as Roland Barthes , Paul de Man , Juia Kristeva , and Fredric Jameson are all heavily indebted to the aims and strategies of Russian Formalism.

Further Reading Stephen Bann and John E. Bowlt, eds., Russian Formalism: A Collection of Articles and Texts in Translation (i973); Osip Brik, “Zvukovye povtory” [Sound repetitions], Sbomiki po teorii poeticheskago iazyka 2 (1917); Boris Eikhenbaum, “Kak sdelana ‘Shinel” Gogolia” (1919, “How Gogol’s ‘Overcoat’ Is Made,” Gogol from the Twentieth Century: Eleven Essays, ed. and trans. Robert A. Maguire, 1974), “Teoriia ‘formalnogometoda'” (1927, “TheTheory of the ‘Formal Method,”‘ Lemon and Reis [appeared first in Ukrainian in 1926]); Roman Jakobson, “The Dominant” (Matejka and Pomorska), Noveishaia russkaia potziia [Recent Russian poetry] (1921, Selected Writings, vol. 5,1979); Lev Jakubinskii, “O zvukakh stikhotvornago iazyka” [On the sounds of poetic language], Sbomiki po teorii poeticheskago iazyka 1 (1916); Lee T. Lemon and Marion J. Reis, eds. and trans., Russian Formalist Criticism: Four Essays (1965); Ladislav Matejka and Krystyna Pomorska, eds., Readings in Russian Poetics: Formalist and Structuralist Views (1978); P. N. Medvedev, Formal’nyi metod v literaturovedenii (Kriticheskoe wedenie v sotsiologicheskuiu poetiku) (1928, The Formal Method in Literary Scholarship: A Critical Introduction to Sociological Poetics, trans. Albert J. Wehrle, 1978 [sometimes attributed also to M. M. Bakhtin]); Christopher Pike, ed. and trans., The Futurists, the Formalists, and the Marxist Critique (1979); Vladimir Propp, Morfologiia skazki (1928, Morphology of the Folktale, trans. Laurence Scott, 1958, 2d ed., ed. Louis A. Wagner, 1968); Victor Shklovsky, “Iskusstvo kak priem” (1917,”Art as Technique,” Lemon and Reis), “On the Connection between Devices of Siuzhet Construction and General Stylistic Devices” (1919, Bann and Bowlt), 0 teorii prozy (1927, Theory of Prose, trans. Benjamin Sher, 1990), “Tristram Shendi: Sterna i teoriia romana” [Sterne’s Tristram Shandy and the theory of the novel] (1921, “Sterne’s Tristram Shandy: Stylistic Commentary,” Lemon and Reis); B. V. Tomashevskii, “Literatura i biografiia” (1923, “Literature and Biography,” Matejka and Pomorska), Teoriia Literatury [Theory of literature] (1928); Iurii Tynianov, “O literaturnoi evoliucii” (1929, “On Literary Evolution,” Matejka and Pomorska), The Problem of Verse Language (1924, ed. and trans. Michael Sosa and Brent Harvey, 1981); Iurii Tynianov and Roman Jakobson, “Problemy izucheniia literatury i iazyka” (1928, “Problems in the Study of Literature and Language,” Matejka and Pomorska). Victor Erlich, Russian Formalism: History-Doctrine (1955, 3d ed., 1981); Aage A. Hansen-Löve, Der russische Formalismus (1978); Robert Louis Jackson and Stephen Rudy, eds., Russian Formalism: A Retrospective Glance (1985); Fredric Jameson, The Prison-House of Language: A Critical Account of Structuralism and Russian Formalism (1972); Daniel P. Lucid, ed., Soviet Semiotics: An Anthology (1977); L. Μ. O’Toole and Ann Shukman, eds., Formalism: History, Comparison, Genre (1978), Formalist Theory (1977); Krystyna Pomorska, Russian Formalist Theory and Its Poetic Ambience (1968); Peter Steiner, Russian Formalism: A Metapoetics (1984); Jurij Striedter, Literary Structure, Evolution, and Value (1989); Ewa Μ. Thompson, Russian Formalism and Anglo-American New Criticism (1971); Tzvetan Todorov, Critique de la critique (1984, Literature and Its Theorists: A Personal View of Twentieth-Century Criticism, trans. Catherine Porter, 1987); Leon Trotsky, Literature and Revolution (trans. Rose Strunsky, 1975). Source: Groden, Michael, and Martin Kreiswirth. The Johns Hopkins Guide to Literary Theory and Criticism. Baltimore: Johns Hopkins University Press, 1994.

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Categories: Literary Terms and Techniques , Russian Formalism

Tags: Defamiliarization , Grigorii Vinokur , Linguistics , Literary Criticism , Literary Theory , Moscow Linguistic Circle , OPOJAZ , ostranenie , Petr Bogatyrev , Roman Jakobson , Society for the Study of Poetic LanguageSociety for the Study of Poetic Language

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He applied to Harvard, Duke, Princeton, MIT, and others with the same essay. He got into both Princeton and Harvard, and received offers of financial aid from them both. Business Insider has verified these offers with documentation.

Wang chose to study computer science at Harvard in 2015 because he said it was the best for STEM subjects, and he wanted to be further away from home.

He still tries to live authentically

Wang said if his friends read his essay now, 10 years after he submitted it, they'd recognize his personality in it. It shows his "scrappy" attitude to life, he said.

After graduating from Harvard in 2019, he started working as a software engineer for a tech company in San Francisco. He quit in 2022, and cofounded his startup Exa, a search engine for AI, in 2023.

Wang believes that prioritizing authenticity helped his success since college. "If you do things that you feel are authentic or that are right, you'll be rewarded for it," he said.

Do you have a college admissions success story? Email Ella Hopkins at [email protected] .

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• College Essay Examples | What Works and What Doesn’t

College Essay Examples | What Works and What Doesn't

Published on November 8, 2021 by Kirsten Courault . Revised on August 14, 2023.

One effective method for improving your college essay is to read example essays . Here are three sample essays, each with a bad and good version to help you improve your own essay.

Table of contents

Essay 1: sharing an identity or background through a montage, essay 2: overcoming a challenge, a sports injury narrative, essay 3: showing the influence of an important person or thing, other interesting articles, frequently asked questions about college application essays.

This essay uses a montage structure to show snapshots of a student’s identity and background. The writer builds her essay around the theme of the five senses, sharing memories she associates with sight, sound, smell, touch, and taste.

In the weak rough draft, there is little connection between the individual anecdotes, and they do not robustly demonstrate the student’s qualities.

In the final version, the student uses an extended metaphor of a museum to create a strong connection among her stories, each showcasing a different part of her identity. She draws a specific personal insight from each memory and uses the stories to demonstrate her qualities and values.

How My Five Senses Record My Life

Throughout my life, I have kept a record of my life’s journey with my five senses. This collection of memories matters a great deal because I experience life every day through the lens of my identity.

“Chinese! Japanese!”

My classmate pulls one eye up and the other down.

“Look what my parents did to me!”

No matter how many times he repeats it, the other kids keep laughing. I focus my almond-shaped eyes on the ground, careful not to attract attention to my discomfort, anger, and shame. How could he say such a mean thing about me? What did I do to him? Joseph’s words would engrave themselves into my memory, making me question my appearance every time I saw my eyes in the mirror.

Soaking in overflowing bubble baths with Andrew Lloyd Webber belting from the boombox.

Listening to “Cell Block Tango” with my grandparents while eating filet mignon at a dine-in show in Ashland.

Singing “The Worst Pies in London” at a Korean karaoke club while laughing hysterically with my brother, who can do an eerily spot-on rendition of Sweeney Todd.

Taking car rides with Mom in the Toyota Sequoia as we compete to hit the high note in “Think of Me” from The Phantom of the Opera . Neither of us stands a chance!

The sweet scent of vegetables, Chinese noodles, and sushi wafts through the room as we sit around the table. My grandma presents a good-smelling mixture of international cuisine for our Thanksgiving feast. My favorite is the Chinese food that she cooks. Only the family prayer stands between me and the chance to indulge in these delicious morsels, comforting me with their familiar savory scents.

I rinse a faded plastic plate decorated by my younger sister at the Waterworks Art Center. I wear yellow rubber gloves to protect my hands at Mom’s insistence, but I can still feel the warm water that offers a bit of comfort as I finish the task at hand. The crusted casserole dish with stubborn remnants from my dad’s five-layer lasagna requires extra effort, so I fill it with Dawn and scalding water, setting it aside to soak. I actually don’t mind this daily chore.

I taste sweat on my upper lip as I fight to continue pedaling on a stationary bike. Ava’s next to me and tells me to go up a level. We’re biking buddies, dieting buddies, and Saturday morning carbo-load buddies. After the bike display hits 30 minutes, we do a five-minute cool down, drink Gatorade, and put our legs up to rest.

My five senses are always gathering new memories of my identity. I’m excited to expand my collection.

Word count: 455

College essay checklist

Topic and structure

• I’ve selected a topic that’s meaningful to me.
• My essay reveals something different from the rest of my application.
• I have a clear and well-structured narrative.
• I’ve concluded with an insight or a creative ending.

Writing style and tone

• I’ve crafted an introduction containing vivid imagery or an intriguing hook that grabs the reader’s attention.
• I’ve written my essay in a way that shows instead of tells.
• I’ve used appropriate style and tone for a college essay.
• I’ve used specific, vivid personal stories that would be hard to replicate.
• I’ve demonstrated my positive traits and values in my essay.
• My essay is focused on me, not another person or thing.
• I’ve included self-reflection and insight in my essay.
• I’ve respected the word count , remaining within 10% of the upper word limit.

Making Sense of My Identity

Welcome to The Rose Arimoto Museum. You are about to enter the “Making Sense of My Identity” collection. Allow me to guide you through select exhibits, carefully curated memories from Rose’s sensory experiences.

First, the Sight Exhibit.

“Chinese! Japanese!”

“Look what my parents did to me!”

No matter how many times he repeats it, the other kids keep laughing. I focus my almond-shaped eyes on the ground, careful not to attract attention as my lip trembles and palms sweat. Joseph couldn’t have known how his words would engrave themselves into my memory, making me question my appearance every time I saw my eyes in the mirror.

Ten years later, these same eyes now fixate on an InDesign layout sheet, searching for grammar errors while my friend Selena proofreads our feature piece on racial discrimination in our hometown. As we’re the school newspaper editors, our journalism teacher Ms. Riley allows us to stay until midnight to meet tomorrow’s deadline. She commends our work ethic, which for me is fueled by writing一my new weapon of choice.

Next, you’ll encounter the Sound Exhibit.

Still, the world is my Broadway as I find my voice on stage.

Just below, enter the Smell Exhibit.

While I help my Pau Pau prepare dinner, she divulges her recipe for cha siu bau, with its soft, pillowy white exterior hiding the fragrant filling of braised barbecue pork inside. The sweet scent of candied yams, fun see , and Spam musubi wafts through the room as we gather around our Thankgsiving feast. After our family prayer, we indulge in these delicious morsels until our bellies say stop. These savory scents of my family’s cultural heritage linger long after I’ve finished the last bite.

Next up, the Touch Exhibit.

I rinse a handmade mug that I had painstakingly molded and painted in ceramics class. I wear yellow rubber gloves to protect my hands at Mom’s insistence, but I can still feel the warm water that offers a bit of comfort as I finish the task at hand. The crusted casserole dish with stubborn remnants from my dad’s five-layer lasagna requires extra effort, so I fill it with Dawn and scalding water, setting it aside to soak. For a few fleeting moments, as I continue my nightly chore, the pressure of my weekend job, tomorrow’s calculus exam, and next week’s track meet are washed away.

Finally, we end with the Taste Exhibit.

My legs fight to keep pace with the stationary bike as the salty taste of sweat seeps into corners of my mouth. Ava challenges me to take it up a level. We always train together一even keeping each other accountable on our strict protein diet of chicken breasts, broccoli, and Muscle Milk. We occasionally splurge on Saturday mornings after interval training, relishing the decadence of everything bagels smeared with raspberry walnut cream cheese. But this is Wednesday, so I push myself. I know that once the digital display hits 30:00, we’ll allow our legs to relax into a five-minute cool down, followed by the fiery tang of Fruit Punch Gatorade to rehydrate.

Thank you for your attention. This completes our tour. I invite you to rejoin us for next fall’s College Experience collection, which will exhibit Rose’s continual search for identity and learning.

Word count: 649

• I’ve crafted an essay introduction containing vivid imagery or an intriguing hook that grabs the reader’s attention.

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This essay uses a narrative structure to recount how a student overcame a challenge, specifically a sports injury. Since this topic is often overused, the essay requires vivid description, a memorable introduction and conclusion , and interesting insight.

The weak rough draft contains an interesting narrative, insight, and vivid imagery, but it has an overly formal tone that distracts the reader from the story. The student’s use of elaborate vocabulary in every sentence makes the essay sound inauthentic and stilted.

The final essay uses a more natural, conversational tone and chooses words that are vivid and specific without being pretentious. This allows the reader to focus on the narrative and appreciate the student’s unique insight.

One fateful evening some months ago, a defensive linebacker mauled me, his 212 pounds indisputably alighting upon my ankle. Ergo, an abhorrent cracking of calcified tissue. At first light the next day, I awoke cognizant of a new paradigm—one sans football—promulgated by a stabbing sensation that would continue to haunt me every morning of this semester.

It’s been an exceedingly taxing semester not being able to engage in football, but I am nonetheless excelling in school. That twist of fate never would have come to pass if I hadn’t broken my ankle. I still limp down the halls at school, but I’m feeling less maudlin these days. My friends don’t steer clear anymore, and I have a lot more of them. My teachers, emboldened by my newfound interest in learning, continually invite me to learn more and do my best. Football is still on hold, but I feel like I’m finally playing a game that matters.

Five months ago, right after my ill-fated injury, my friends’ demeanor became icy and remote, although I couldn’t fathom why. My teachers, in contrast, beckoned me close and invited me on a new learning journey. But despite their indubitably kind advances, even they recoiled when I drew near.

A few weeks later, I started to change my attitude vis-à-vis my newfound situation and determined to put my energy toward productive ends (i.e., homework). I wasn’t enamored with school. I never had been. Nevertheless, I didn’t abhor it either. I just preferred football.

My true turn of fate came when I started studying more and participating in class. I started to enjoy history class, and I grew interested in reading more. I discovered a volume of poems written by a fellow adventurer on the road of life, and I loved it. I ravenously devoured everything in the writer’s oeuvre .

As the weeks flitted past, I found myself spending my time with a group of people who were quite different from me. They participated in theater and played instruments in marching band. They raised their hands in class when the teacher posed a question. Because of their auspicious influence, I started raising my hand too. I am no longer vapid, and I now have something to say.

I am certain that your school would benefit from my miraculous academic transformation, and I entreat you to consider my application to your fine institution. Accepting me to your university would be an unequivocally righteous decision.

Word count: 408

• I’ve chosen a college essay topic that’s meaningful to me.
• I’ve respected the essay word count , remaining within 10% of the upper word limit.

As I step out of bed, the pain shoots through my foot and up my leg like it has every morning since “the game.” That night, a defensive linebacker tackled me, his 212 pounds landing decidedly on my ankle. I heard the sound before I felt it. The next morning, I awoke to a new reality—one without football—announced by a stabbing sensation that would continue to haunt me every morning of this semester.

My broken ankle broke my spirit.

My friends steered clear of me as I hobbled down the halls at school. My teachers tried to find the delicate balance between giving me space and offering me help. I was as unsure how to deal with myself as they were.

In time, I figured out how to redirect some of my frustration, anger, and pent-up energy toward my studies. I had never not liked school, but I had never really liked it either. In my mind, football practice was my real-life classroom, where I could learn all I ever needed to know.

Then there was that day in Mrs. Brady’s history class. We sang a ridiculous-sounding mnemonic song to memorize all the Chinese dynasties from Shang to Qing. I mumbled the words at first, but I got caught up in the middle of the laughter and began singing along. Starting that day, I began browsing YouTube videos about history, curious to learn more. I had started learning something new, and, to my surprise, I liked it.

With my afternoons free from burpees and scrimmages, I dared to crack open a few more of my books to see what was in them. That’s when my English poetry book, Paint Me Like I Am , caught my attention. It was full of poems written by students my age from WritersCorps. I couldn’t get enough.

I wasn’t the only one who was taken with the poems. Previously, I’d only been vaguely aware of Christina as one of the weird kids I avoided. Crammed in the margins of her high-top Chuck Taylors were scribbled lines of her own poetry and infinite doodles. Beyond her punk rock persona was a sensitive artist, puppy-lover, and environmental activist that a wide receiver like me would have never noticed before.

With Christina, I started making friends with people who once would have been invisible to me: drama geeks, teachers’ pets, band nerds. Most were college bound but not to play a sport. They were smart and talented, and they cared about people and politics and all sorts of issues that I hadn’t considered before. Strangely, they also seemed to care about me.

I still limp down the halls at school, but I don’t seem to mind as much these days. My friends don’t steer clear anymore, and I have a lot more of them. My teachers, excited by my newfound interest in learning, continually invite me to learn more and do my best. Football is still on hold, but I feel like I’m finally playing a game that matters.

My broken ankle broke my spirit. Then, it broke my ignorance.

Word count: 512

This essay uses a narrative structure to show how a pet positively influenced the student’s values and character.

In the weak draft, the student doesn’t focus on himself, instead delving into too much detail about his dog’s positive traits and his grandma’s illness. The essay’s structure is meandering, with tangents and details that don’t communicate any specific insight.

In the improved version, the student keeps the focus on himself, not his pet. He chooses the most relevant stories to demonstrate specific qualities, and the structure more clearly builds up to an insightful conclusion.

Man’s Best Friend

I desperately wanted a cat. I begged my parents for one, but once again, my sisters overruled me, so we drove up the Thompson Valley Canyon from Loveland to Estes Park to meet our newest family member. My sisters had already hatched their master plan, complete with a Finding Nemo blanket to entice the pups. The blanket was a hit with all of them, except for one—the one who walked over and sat in my lap. That was the day that Francisco became a Villanova.

Maybe I should say he was mine because I got stuck with all the chores. As expected, my dog-loving sisters were nowhere to be found! My mom was “extra” with all the doggy gear. Cisco even had to wear these silly little puppy shoes outside so that when he came back in, he wouldn’t get the carpets dirty. If it was raining, my mother insisted I dress Cisco in a ridiculous yellow raincoat, but, in my opinion, it was an unnecessary source of humiliation for poor Cisco. It didn’t take long for Cisco to decide that his outerwear could be used as toys in a game of Keep Away. As soon as I took off one of his shoes, he would run away with it, hiding under the bed where I couldn’t reach him. But, he seemed to appreciate his ensemble more when we had to walk through snowdrifts to get his job done.

When my abuela was dying from cancer, we went in the middle of the night to see her before she passed. I was sad and scared. But, my dad let me take Cisco in the car, so Cisco cuddled with me and made me feel much better. It’s like he could read my mind. Once we arrived at the hospital, the fluorescent lighting made the entire scene seem unreal, as if I was watching the scene unfold through someone else’s eyes. My grandma lay calmly on her bed, smiling at us even through her last moments of pain. I disliked seeing the tubes and machines hooked up to her. It was unnatural to see her like this一it was so unlike the way I usually saw her beautiful in her flowery dress, whistling a Billie Holiday tune and baking snickerdoodle cookies in the kitchen. The hospital didn’t usually allow dogs, but they made a special exception to respect my grandma’s last wishes that the whole family be together. Cisco remained at the foot of the bed, intently watching abuela with a silence that seemed more effective at communicating comfort and compassion than the rest of us who attempted to offer up words of comfort that just seemed hollow and insincere. It was then that I truly appreciated Cisco’s empathy for others.

As I accompanied my dad to pick up our dry cleaner’s from Ms. Chapman, a family friend asked, “How’s Cisco?” before even asking about my sisters or me. Cisco is the Villanova family mascot, a Goldendoodle better recognized by strangers throughout Loveland than the individual members of my family.

On our summer trip to Boyd Lake State Park, we stayed at the Cottonwood campground for a breathtaking view of the lake. Cisco was allowed to come, but we had to keep him on a leash at all times. After a satisfying meal of fish, our entire family walked along the beach. Cisco and I led the way while my mom and sisters shuffled behind. Cisco always stopped and refused to move, looking back to make sure the others were still following. Once satisfied that everyone was together, he would turn back around and continue prancing with his golden boy curly locks waving in the chilly wind.

On the beach, Cisco “accidentally” got let off his leash and went running maniacally around the sand, unfettered and free. His pure joy as he raced through the sand made me forget about my AP Chem exam or my student council responsibilities. He brings a smile not only to my family members but everyone around him.

Cisco won’t live forever, but without words, he has impressed upon me life lessons of responsibility, compassion, loyalty, and joy. I can’t imagine life without him.

Word count: 701

I quickly figured out that as “the chosen one,” I had been enlisted by Cisco to oversee all aspects of his “business.” I learned to put on Cisco’s doggie shoes to keep the carpet clean before taking him out一no matter the weather. Soon after, Cisco decided that his shoes could be used as toys in a game of Keep Away. As soon as I removed one of his shoes, he would run away with it, hiding under the bed where I couldn’t reach him. But, he seemed to appreciate his footwear more after I’d gear him up and we’d tread through the snow for his daily walks.

One morning, it was 7:15 a.m., and Alejandro was late again to pick me up. “Cisco, you don’t think he overslept again, do you?” Cisco barked, as if saying, “Of course he did!” A text message would never do, so I called his dad, even if it was going to get him in trouble. There was no use in both of us getting another tardy during our first-period class, especially since I was ready on time after taking Cisco for his morning outing. Alejandro was mad at me but not too much. He knew I had helped him out, even if he had to endure his dad’s lecture on punctuality.

Another early morning, I heard my sister yell, “Mom! Where are my good ballet flats? I can’t find them anywhere!” I hesitated and then confessed, “I moved them.” She shrieked at me in disbelief, but I continued, “I put them in your closet, so Cisco wouldn’t chew them up.” More disbelief. However, this time, there was silence instead of shrieking.

Last spring, Cisco and I were fast asleep when the phone rang at midnight. Abuela would not make it through the night after a long year of chemo, but she was in Pueblo, almost three hours away. Sitting next to me for that long car ride on I-25 in pitch-black darkness, Cisco knew exactly what I needed and snuggled right next to me as I petted his coat in a rhythm while tears streamed down my face. The hospital didn’t usually allow dogs, but they made a special exception to respect my grandma’s last wishes that the whole family be together. Cisco remained sitting at the foot of the hospital bed, intently watching abuela with a silence that communicated more comfort than our hollow words. Since then, whenever I sense someone is upset, I sit in silence with them or listen to their words, just like Cisco did.

The other day, one of my friends told me, “You’re a strange one, Josue. You’re not like everybody else but in a good way.” I didn’t know what he meant at first. “You know, you’re super responsible and grown-up. You look out for us instead of yourself. Nobody else does that.” I was a bit surprised because I wasn’t trying to do anything different. I was just being me. But then I realized who had taught me: a fluffy little puppy who I had wished was a cat! I didn’t choose Cisco, but he certainly chose me and, unexpectedly, became my teacher, mentor, and friend.

Word count: 617

If you want to know more about academic writing , effective communication , or parts of speech , make sure to check out some of our other articles with explanations and examples.

Academic writing

• Writing process
• Transition words
• Passive voice
• Paraphrasing

 Communication

• How to end an email
• Ms, mrs, miss
• How to start an email
• I hope this email finds you well
• Hope you are doing well

 Parts of speech

• Personal pronouns
• Conjunctions

A standout college essay has several key ingredients:

• A unique, personally meaningful topic
• A memorable introduction with vivid imagery or an intriguing hook
• Specific stories and language that show instead of telling
• Vulnerability that’s authentic but not aimed at soliciting sympathy
• Clear writing in an appropriate style and tone
• A conclusion that offers deep insight or a creative ending

There are no set rules for how to structure a college application essay , but these are two common structures that work:

• A montage structure, a series of vignettes with a common theme.
• A narrative structure, a single story that shows your personal growth or how you overcame a challenge.

Avoid the five-paragraph essay structure that you learned in high school.

Though admissions officers are interested in hearing your story, they’re also interested in how you tell it. An exceptionally written essay will differentiate you from other applicants, meaning that admissions officers will spend more time reading it.

You can use literary devices to catch your reader’s attention and enrich your storytelling; however, focus on using just a few devices well, rather than trying to use as many as possible.

Most importantly, your essay should be about you , not another person or thing. An insightful college admissions essay requires deep self-reflection, authenticity, and a balance between confidence and vulnerability.

Your essay shouldn’t be a résumé of your experiences but instead should tell a story that demonstrates your most important values and qualities.

When revising your college essay , first check for big-picture issues regarding message, flow, tone, style , and clarity. Then, focus on eliminating grammar and punctuation errors.

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The Climate Crisis and Colonialism Destroyed My Maui Home. Where We Must Go From Here

A s I watched the flames of the wildfires consume my beloved Maui, it felt as if the very pages from the Book of Revelations were coming alive.

Homes, sacred structures, and institutions flattened. Over 100 lives were lost, with a thousand more unaccounted for. Even the ancient 150-year-old Banyan tree, a guardian of my youth, was marred by the inferno. Each ember seemed to tell a tale, a memory, a piece of a narrative that connected countless generations.

The harrowing wildfires paired with a fierce hurricane wasn't just a tragedy. It felt like Goddess Papahānaumoku—Earth Mother, herself—raging at humanity's hubris. The disturbing silence left by the missing and the mourned souls tells of a disaster that's unnatural, shaped by the human hand—a byproduct of the dangerous dance between climate change and centuries of colonial greed.

While West Maui is no stranger to wildfires, the magnitude of the blaze that tore through Lāhainā is emblematic of a changing climate. Our once-wetland haven has been transformed into a vulnerable tinderbox. Compounding the problem was Hurricane Dora— made fiercer by the warming climate—which propelled the fire further. All of this underscores a painful truth: the first and most severely impacted by the climate crisis are often indigenous, Black, brown, and low-income communities. These groups have contributed the least to climate change, but have suffered the most, and must be prioritized in our transition to a better world.

We can't ignore the scars of history which set the stage for this disaster. Before the hotels, before Hawaii was known as a state or even a territory (and way before its illegal annexation), Lāhainā was the cradle of our civilization. It was the heart and capital of the Hawaiian Kingdom. The waters were so abundant that boats once surrounded the iconic Waiola Church. Kamehameha The Great’s palace stood tall at the town’s center, keeping watch over the shoreline.

Read More: The History Lost in the Maui Wildfires But at the turn of the 20th century, American sugar barons came to exploit Hawaii's rich resources . They disrupted Lahaina's water supply and brought highly flammable grasses to Hawaii—the very ones that ignited with ferocity last week. Their heirs went on to monopolize land, marginalizing our indigenous population in the process.

Their legacy and extractive way of life endures. Maui’s most dominant corporations today, like Alexander & Baldwin, embody the legacy of those same barons who once sought to profit from our fertile lands. Their ethos of extraction and destruction persists in Maui’s most dominant industries: land speculation and tourism. These industries seek to destroy much of Hawaii’s natural beauty while gatekeeping sections of it for the privileged few. This timeline of Hawaiian history could be experienced first hand by a walk down Lāhinā’s Front Street just two weeks ago. You could see milestones of our history represented in the street’s restaurants, stores, and historic buildings: from royalty, to whaling, sugar, tourism, and luxury. Today, much of Front Street is burned to the ground. It’s a potent and harrowing reminder of the terminal point of the exploitative trajectory Hawaii has been on for decades. My greatest fear is that this trajectory of exploitation will continue in the recovery from the Maui wildfires. As whispers of reshaping Lāhainā emerge, with wealthy developers eager to mold it to their vision, our generation’s vision for social and environmental justice grows even firmer. Our recovery from the wildfires can’t just be about combating climate change—it has to be about returning control of our cherished lands to the people who hold them dear.

Read More: Why the History of Hawaii Makes People Fear Lahaina's Future

The future of Maui should be more than just a haven for tourists. Our land should cater to local needs over external desires. Instead of vast monocrops, we should diversify, nurturing fields that feed our own people. Our approach to housing must be rooted in necessity: We need to build homes to actually shelter our people, not to line the pockets of distant investors. With the Department of Hawaiian Homes fully funded for the first time and various land trusts eager to lend a hand, the moment is ripe to provide our many unsheltered Kānaka Maoli with homes that dignify their heritage.

The people of Maui, especially survivors, are taking charge of the recovery process, reshaping the blueprint for our island's restoration. We're picturing a community-driven, just recovery that not only reconstructs Maui but also fosters new leadership among Maui residents—from collaboratively rebuilding a school one day to advocating at the county council the next. As we rise from the ashes, our rebuilding efforts must champion hoʻomana Lāhui—the spirit of collective empowerment.

At the national level, it's past time for President Biden to officially recognize the climate crisis by declaring a climate emergency. This would enable him to halt the destructive fossil fuel production driving these disasters. Furthermore, substantial federal investments on the scale of trillions are required to prevent catastrophes like this one in the future and prioritize the welfare of working families in mitigation and recovery efforts. Any climate solution would be incomplete without justice at its core. Kānaka Maoli, Native Hawaiians, should be central to the rebuilding and recovery efforts. We should have the authority to manage our lands and resources.

In these heartrending times, it's challenging to see beyond the immediate pain. But there’s a silver lining in our resilience. The wildfires of Maui, while devastating, have also ignited a spark in us. They’ve awakened a renewed commitment to not just rebuild, but to redefine what Hawaii stands for. This is our home, our history, our legacy. And it's our collective responsibility to ensure that Hawaii’s future is carved out of respect, understanding, and love for its past.

Just like the Banyan tree, Lāhainā may have faced devastation, but its roots are deep and resilient. As the Banyan regrows its branches—and recolors itselves with budding leaves—so too, will Lāhainā flourish again.

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MIT study explains why laws are written in an incomprehensible style

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Legal documents are notoriously difficult to understand, even for lawyers. This raises the question: Why are these documents written in a style that makes them so impenetrable?

MIT cognitive scientists believe they have uncovered the answer to that question. Just as “magic spells” use special rhymes and archaic terms to signal their power, the convoluted language of legalese acts to convey a sense of authority, they conclude.

In a study appearing this week in the journal of the Proceedings of the National Academy of Sciences , the researchers found that even non-lawyers use this type of language when asked to write laws.

“People seem to understand that there’s an implicit rule that this is how laws should sound, and they write them that way,” says Edward Gibson, an MIT professor of brain and cognitive sciences and the senior author of the study.

Eric Martinez PhD ’24 is the lead author of the study. Francis Mollica, a lecturer at the University of Melbourne, is also an author of the paper .

Casting a legal spell

Gibson’s research group has been studying the unique characteristics of legalese since 2020, when Martinez came to MIT after earning a law degree from Harvard Law School. In a 2022 study , Gibson, Martinez, and Mollica analyzed legal contracts totaling about 3.5 million words, comparing them with other types of writing, including movie scripts, newspaper articles, and academic papers.

That analysis revealed that legal documents frequently have long definitions inserted in the middle of sentences — a feature known as “center-embedding.” Linguists have previously found that this kind of structure can make text much more difficult to understand.

“Legalese somehow has developed this tendency to put structures inside other structures, in a way which is not typical of human languages,” Gibson says.

In a follow-up study published in 2023, the researchers found that legalese also makes documents more difficult for lawyers to understand. Lawyers tended to prefer plain English versions of documents, and they rated those versions to be just as enforceable as traditional legal documents.

“Lawyers also find legalese to be unwieldy and complicated,” Gibson says. “Lawyers don’t like it, laypeople don’t like it, so the point of this current paper was to try and figure out why they write documents this way.”

The researchers had a couple of hypotheses for why legalese is so prevalent. One was the “copy and edit hypothesis,” which suggests that legal documents begin with a simple premise, and then additional information and definitions are inserted into already existing sentences, creating complex center-embedded clauses.

“We thought it was plausible that what happens is you start with an initial draft that’s simple, and then later you think of all these other conditions that you want to include. And the idea is that once you’ve started, it’s much easier to center-embed that into the existing provision,” says Martinez, who is now a fellow and instructor at the University of Chicago Law School.

However, the findings ended up pointing toward a different hypothesis, the so-called “magic spell hypothesis.” Just as magic spells are written with a distinctive style that sets them apart from everyday language, the convoluted style of legal language appears to signal a special kind of authority, the researchers say.

“In English culture, if you want to write something that’s a magic spell, people know that the way to do that is you put a lot of old-fashioned rhymes in there. We think maybe center-embedding is signaling legalese in the same way,” Gibson says.

In this study, the researchers asked about 200 non-lawyers (native speakers of English living in the United States, who were recruited through a crowdsourcing site called Prolific), to write two types of texts. In the first task, people were told to write laws prohibiting crimes such as drunk driving, burglary, arson, and drug trafficking. In the second task, they were asked to write stories about those crimes.

To test the copy and edit hypothesis, half of the participants were asked to add additional information after they wrote their initial law or story. The researchers found that all of the subjects wrote laws with center-embedded clauses, regardless of whether they wrote the law all at once or were told to write a draft and then add to it later. And, when they wrote stories related to those laws, they wrote in much plainer English, regardless of whether they had to add information later.

“When writing laws, they did a lot of center-embedding regardless of whether or not they had to edit it or write it from scratch. And in that narrative text, they did not use center-embedding in either case,” Martinez says.

In another set of experiments, about 80 participants were asked to write laws, as well as descriptions that would explain those laws to visitors from another country. In these experiments, participants again used center-embedding for their laws, but not for the descriptions of those laws.

The origins of legalese

Gibson’s lab is now investigating the origins of center-embedding in legal documents. Early American laws were based on British law, so the researchers plan to analyze British laws to see if they feature the same kind of grammatical construction. And going back much farther, they plan to analyze whether center-embedding is found in the Hammurabi Code, the earliest known set of laws, which dates to around 1750 BC.

“There may be just a stylistic way of writing from back then, and if it was seen as successful, people would use that style in other languages,” Gibson says. “I would guess that it’s an accidental property of how the laws were written the first time, but we don’t know that yet.”

The researchers hope that their work, which has identified specific aspects of legal language that make it more difficult to understand, will motivate lawmakers to try to make laws more comprehensible. Efforts to write legal documents in plainer language date to at least the 1970s, when President Richard Nixon declared that federal regulations should be written in “layman’s terms.” However, legal language has changed very little since that time.

“We have learned only very recently what it is that makes legal language so complicated, and therefore I am optimistic about being able to change it,” Gibson says. 

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How to cite a chapter written by someone other than the book’s authors

Unlike an edited book, where each chapter has unique authors, usually you expect an authored book to have the same author(s) throughout. Thus, citing a chapter of an edited book is common, but as a general rule, citing chapters from authored books is not. For authored books, the whole book is referenced , with specific chapters included in the in-text citation as needed. This is true whether the chapters were written by the book’s authors or an outside contributor who isn’t given cover credit.

When a chapter in an authored book was written by someone other than the book’s authors, your instincts might tell you to cite it as if it were from an edited book—that is, citing the chapter authors in the author position and the book authors in the editor position without “Eds.” in parentheses. Doing so could cause confusion given that authored books with chapters written by outside contributors are very uncommon. APA Style readers are so accustomed to the format for citing a chapter in an edited book that they might mistakenly believe that you are in fact referencing an edited book and simply forgot to include the “Eds.” component. Also, if you are using a reference manager, it may not allow you to omit the “Editor” label from the reference.

To avoid potential confusion, the simplest solution is to cite the book as you would any other authored book, which is a reference format that readers can immediately recognize, but to add any additional information in the text.

For example, here are example references and in-text citations for two authored books that include chapters written by outside contributors:

DeMarco, R. F., & Healey-Walsh, J. (2020). Community and public health nursing: Evidence for practice (3rd ed.). Wolters Kluwer.

McEwen, M., & Wills, E. M. (2023). Theoretical basis for nursing (6th ed.). Wolters Kluwer.

• Parenthetical citations: (DeMarco & Healey-Walsh, 2020; McEwen & Wills, 2023)
• Narrative citations: DeMarco and Healey-Walsh (2020) and McEwen and Wills (2023)

In the text you can clarify the unique nature of your source by crediting the chapter author(s) in your narrative and identifying the chapter number as part of your in-text citation. Here are example citations of a direct quotation and paraphrased text from a chapter in an authored book written by an outside contributor:

Direct quotation: Melinda Oberleitner distinguished between two different types of leaders: “Formal leaders are appointed by official or legislative authority. Informal leaders derive power through influence and, in reality, may be more important to staff or groups than the formal, appointed, or designated leaders” (McEwen & Wills, 2023, Chapter 16, p. 369).

Paraphrased text: Melinda Oberleitner pointed out that informal leaders, even if they have not been officially assigned to leadership positions, may serve a more significant role in influencing their coworkers than formal leaders (McEwen & Wills, 2023, Chapter 16).

The same principles apply if a contributor is credited as writing a smaller portion of a book, such as a text box, rather than an entire chapter. You would simply include the box number instead of the chapter number in your citation.

Sometimes outside contributors (particularly foreword authors) are given cover credit, typically as part of a “with” statement below the main authors’ names. In this case, the contributors are credited parenthetically in the reference. However, as with the previous examples, they are not listed among the authors in corresponding in-text citations.

Here are example references and citations for two authored books in which outside contributors are given cover credit:

Blume, M., & Lust, B. C. (with Chien, Y., Dye, C. D., Foley, C. A., & Kedar, Y.). (2017). Research methods in language acquisition: Principles, procedures, and practices . De Gruyter Mouton; American Psychological Association.

Christie, A. (with Todd, C.). (2013). Hercule Poirot: The complete short stories . HarperCollins.

• Parenthetical citations: (Blume & Lust, 2017; Christie, 2013)
• Narrative citations: Blume and Lust (2017) and Christie (2013)

If you are citing a portion of the book that was written by the outside contributor(s), you can mention them in text, as shown in these examples:

In his foreword, Charles Todd noted that the famous detective Hercule Poirot has no clear origin story and is therefore as mysterious as the cases he is tasked with solving (Christie, 2013).

Yarden Chen described “the high-amplitude sucking (HAS) technique, which is based on measuring variations in infants’ sucking rate and strength in response to different acoustic stimuli” (Blume & Lust, 2017, Chapter 13, p. 252) as one common method for measuring how infants respond to spoken language.

Chapters in authored books that are written by outside contributors are so rare that it can be confusing to know how to cite them properly, but hopefully this post will help you. If you ever find yourself in that situation and there’s something you’re not sure about, feel free to leave a comment below.

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