literary essay body paragraphs

Body Paragraph

Definition of body paragraph.

A body paragraph in an essay is a paragraph that comes between the introduction and the conclusion . In a five-paragraph essay, there are three body paragraphs, while in longer essays there could be five or even ten. In major research papers, there are hundreds of body paragraphs.

Components of a Body Paragraph

A body paragraph has three major components: (1) topic sentence , (2) explanation, (3) supporting details. Without any of them, the body paragraph seems to be missing something, and will not add anything to the theme and central idea of the essay.

• Topic Sentence The topic sentence is the first sentence of a paragraph, and states the main idea to be discussed in the paragraph. In a body paragraph, the topic sentence is always about the evidence given in the thesis statement of the essay. It could be a claim , an assertion , or a fact needing explanation. It is generally a statement or a declarative sentence.
• Explanation / Example The topic sentence is followed by an explanation and/or an example. Whatever it is, it generally starts with “in other words” or “it means;” or “for example,” “for instance,” etc. This is called “metacommentary,” or telling of the same thing in different words to explain it further, so that readers can understand.
• Supporting Details Supporting details include concrete examples, rather than explanation or metacommentary. In common essays, or five-paragraph essays, this is just a one-sentence example from everyday life. However, in the case of research essays, these are usually quotes and statistics from research studies.

Different Between an Introduction and a Body Paragraph

Although both are called paragraphs, both are very different from each other not only in terms of functions but also in terms of components. An introduction occurs in the beginning and has three major components; a hook , background information , and a thesis statement . However, a body paragraph is comprised of a topic sentence making a claim, an explanation or example of the claim, and supporting details.

Examples of Body Paragraph in Literature

Example #1:  autobiography of bertrand russell (by bertrand russell).

“Three passions, simple but overwhelmingly strong, have governed my life: the longing for love, the search for knowledge, and unbearable pity for the suffering of mankind. These passions, like great winds, have blown me hither and thither, in a wayward course, over a great ocean of anguish, reaching to the very verge of despair. I have sought love, first, because it brings ecstasy – ecstasy so great that I would often have sacrificed all the rest of life for a few hours of this joy. I have sought it, next, because it relieves loneliness – that terrible loneliness in which one shivering consciousness looks over the rim of the world into the cold unfathomable lifeless abyss. I have sought it finally, because in the union of love I have seen, in a mystic miniature, the prefiguring vision of the heaven that saints and poets have imagined. This is what I sought, and though it might seem too good for human life, this is what – at last – I have found.”

This is a paragraph from the prologue of the autobiography of Bertrand Russell. Check its first topic sentence, which explains something that is further elaborated in the following sentences.

Example #2: Politics and the English Language (by George Orwell)

“The inflated style itself is a kind of euphemism . A mass of Latin words falls upon the facts like soft snow , blurring the outline and covering up all the details. The great enemy of clear language is insincerity. When there is a gap between one’s real and one’s declared aims, one turns as it were instinctively to long words and exhausted idioms , like a cuttlefish spurting out ink. In our age there is no such thing as ‘keeping out of politics.’ All issues are political issues, and politics itself is a mass of lies, evasions, folly, hatred, and schizophrenia. When the general atmosphere is bad, language must suffer. I should expect to find — this is a guess which I have not sufficient knowledge to verify — that the German, Russian and Italian languages have all deteriorated in the last ten or fifteen years, as a result of dictatorship.”

This paragraph has a very short topic sentence. However, its explanation and further supporting details are very long.

Function of Body Paragraph

The elements of a body paragraph help to elaborate a concept, organize ideas into a single whole, and help bridge a gap in thoughts. The major task of a body paragraph is the organization of thoughts in a unified way. It also helps an author to give examples to support his claim, given in the topic sentence of that body paragraph. A good paragraph helps readers understand the main idea with examples.

Related posts:

• I Sing the Body Electric
• Simple Paragraph

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12.14: Sample Student Literary Analysis Essays

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• Page ID 40514

• Heather Ringo & Athena Kashyap
• City College of San Francisco via ASCCC Open Educational Resources Initiative

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The following examples are essays where student writers focused on close-reading a literary work.

While reading these examples, ask yourself the following questions:

• What is the essay's thesis statement, and how do you know it is the thesis statement?
• What is the main idea or topic sentence of each body paragraph, and how does it relate back to the thesis statement?
• Where and how does each essay use evidence (quotes or paraphrase from the literature)?
• What are some of the literary devices or structures the essays analyze or discuss?
• How does each author structure their conclusion, and how does their conclusion differ from their introduction?

Example 1: Poetry

Victoria Morillo

Instructor Heather Ringo

3 August 2022

How Nguyen’s Structure Solidifies the Impact of Sexual Violence in “The Study”

Stripped of innocence, your body taken from you. No matter how much you try to block out the instance in which these two things occurred, memories surface and come back to haunt you. How does a person, a young boy , cope with an event that forever changes his life? Hieu Minh Nguyen deconstructs this very way in which an act of sexual violence affects a survivor. In his poem, “The Study,” the poem's speaker recounts the year in which his molestation took place, describing how his memory filters in and out. Throughout the poem, Nguyen writes in free verse, permitting a structural liberation to become the foundation for his message to shine through. While he moves the readers with this poignant narrative, Nguyen effectively conveys the resulting internal struggles of feeling alone and unseen.

The speaker recalls his experience with such painful memory through the use of specific punctuation choices. Just by looking at the poem, we see that the first period doesn’t appear until line 14. It finally comes after the speaker reveals to his readers the possible, central purpose for writing this poem: the speaker's molestation. In the first half, the poem makes use of commas, em dashes, and colons, which lends itself to the idea of the speaker stringing along all of these details to make sense of this time in his life. If reading the poem following the conventions of punctuation, a sense of urgency is present here, as well. This is exemplified by the lack of periods to finalize a thought; and instead, Nguyen uses other punctuation marks to connect them. Serving as another connector of thoughts, the two em dashes give emphasis to the role memory plays when the speaker discusses how “no one [had] a face” during that time (Nguyen 9-11). He speaks in this urgent manner until the 14th line, and when he finally gets it off his chest, the pace of the poem changes, as does the more frequent use of the period. This stream-of-consciousness-like section when juxtaposed with the latter half of the poem, causes readers to slow down and pay attention to the details. It also splits the poem in two: a section that talks of the fogginess of memory then transitions into one that remembers it all.

In tandem with the fluctuating nature of memory, the utilization of line breaks and word choice help reflect the damage the molestation has had. Within the first couple of lines of the poem, the poem demands the readers’ attention when the line breaks from “floating” to “dead” as the speaker describes his memory of Little Billy (Nguyen 1-4). This line break averts the readers’ expectation of the direction of the narrative and immediately shifts the tone of the poem. The break also speaks to the effect his trauma has ingrained in him and how “[f]or the longest time,” his only memory of that year revolves around an image of a boy’s death. In a way, the speaker sees himself in Little Billy; or perhaps, he’s representative of the tragic death of his boyhood, how the speaker felt so “dead” after enduring such a traumatic experience, even referring to himself as a “ghost” that he tries to evict from his conscience (Nguyen 24). The feeling that a part of him has died is solidified at the very end of the poem when the speaker describes himself as a nine-year-old boy who’s been “fossilized,” forever changed by this act (Nguyen 29). By choosing words associated with permanence and death, the speaker tries to recreate the atmosphere (for which he felt trapped in) in order for readers to understand the loneliness that came as a result of his trauma. With the assistance of line breaks, more attention is drawn to the speaker's words, intensifying their importance, and demanding to be felt by the readers.

Most importantly, the speaker expresses eloquently, and so heartbreakingly, about the effect sexual violence has on a person. Perhaps what seems to be the most frustrating are the people who fail to believe survivors of these types of crimes. This is evident when he describes “how angry” the tenants were when they filled the pool with cement (Nguyen 4). They seem to represent how people in the speaker's life were dismissive of his assault and who viewed his tragedy as a nuisance of some sorts. This sentiment is bookended when he says, “They say, give us details , so I give them my body. / They say, give us proof , so I give them my body,” (Nguyen 25-26). The repetition of these two lines reinforces the feeling many feel in these scenarios, as they’re often left to deal with trying to make people believe them, or to even see them.

It’s important to recognize how the structure of this poem gives the speaker space to express the pain he’s had to carry for so long. As a characteristic of free verse, the poem doesn’t follow any structured rhyme scheme or meter; which in turn, allows him to not have any constraints in telling his story the way he wants to. The speaker has the freedom to display his experience in a way that evades predictability and engenders authenticity of a story very personal to him. As readers, we abandon anticipating the next rhyme, and instead focus our attention to the other ways, like his punctuation or word choice, in which he effectively tells his story. The speaker recognizes that some part of him no longer belongs to himself, but by writing “The Study,” he shows other survivors that they’re not alone and encourages hope that eventually, they will be freed from the shackles of sexual violence.

Works Cited

Nguyen, Hieu Minh. “The Study” Poets.Org. Academy of American Poets, Coffee House Press, 2018, https://poets.org/poem/study-0 .

Example 2: Fiction

Todd Goodwin

Professor Stan Matyshak

Advanced Expository Writing

Sept. 17, 20—

Poe’s “Usher”: A Mirror of the Fall of the House of Humanity

Right from the outset of the grim story, “The Fall of the House of Usher,” Edgar Allan Poe enmeshes us in a dark, gloomy, hopeless world, alienating his characters and the reader from any sort of physical or psychological norm where such values as hope and happiness could possibly exist. He fatalistically tells the story of how a man (the narrator) comes from the outside world of hope, religion, and everyday society and tries to bring some kind of redeeming happiness to his boyhood friend, Roderick Usher, who not only has physically and psychologically wasted away but is entrapped in a dilapidated house of ever-looming terror with an emaciated and deranged twin sister. Roderick Usher embodies the wasting away of what once was vibrant and alive, and his house of “insufferable gloom” (273), which contains his morbid sister, seems to mirror or reflect this fear of death and annihilation that he most horribly endures. A close reading of the story reveals that Poe uses mirror images, or reflections, to contribute to the fatalistic theme of “Usher”: each reflection serves to intensify an already prevalent tone of hopelessness, darkness, and fatalism.

It could be argued that the house of Roderick Usher is a “house of mirrors,” whose unpleasant and grim reflections create a dark and hopeless setting. For example, the narrator first approaches “the melancholy house of Usher on a dark and soundless day,” and finds a building which causes him a “sense of insufferable gloom,” which “pervades his spirit and causes an iciness, a sinking, a sickening of the heart, an undiscerned dreariness of thought” (273). The narrator then optimistically states: “I reflected that a mere different arrangement of the scene, of the details of the picture, would be sufficient to modify, or perhaps annihilate its capacity for sorrowful impression” (274). But the narrator then sees the reflection of the house in the tarn and experiences a “shudder even more thrilling than before” (274). Thus the reader begins to realize that the narrator cannot change or stop the impending doom that will befall the house of Usher, and maybe humanity. The story cleverly plays with the word reflection : the narrator sees a physical reflection that leads him to a mental reflection about Usher’s surroundings.

The narrator’s disillusionment by such grim reflection continues in the story. For example, he describes Roderick Usher’s face as distinct with signs of old strength but lost vigor: the remains of what used to be. He describes the house as a once happy and vibrant place, which, like Roderick, lost its vitality. Also, the narrator describes Usher’s hair as growing wild on his rather obtrusive head, which directly mirrors the eerie moss and straw covering the outside of the house. The narrator continually longs to see these bleak reflections as a dream, for he states: “Shaking off from my spirit what must have been a dream, I scanned more narrowly the real aspect of the building” (276). He does not want to face the reality that Usher and his home are doomed to fall, regardless of what he does.

Although there are almost countless examples of these mirror images, two others stand out as important. First, Roderick and his sister, Madeline, are twins. The narrator aptly states just as he and Roderick are entombing Madeline that there is “a striking similitude between brother and sister” (288). Indeed, they are mirror images of each other. Madeline is fading away psychologically and physically, and Roderick is not too far behind! The reflection of “doom” that these two share helps intensify and symbolize the hopelessness of the entire situation; thus, they further develop the fatalistic theme. Second, in the climactic scene where Madeline has been mistakenly entombed alive, there is a pairing of images and sounds as the narrator tries to calm Roderick by reading him a romance story. Events in the story simultaneously unfold with events of the sister escaping her tomb. In the story, the hero breaks out of the coffin. Then, in the story, the dragon’s shriek as he is slain parallels Madeline’s shriek. Finally, the story tells of the clangor of a shield, matched by the sister’s clanging along a metal passageway. As the suspense reaches its climax, Roderick shrieks his last words to his “friend,” the narrator: “Madman! I tell you that she now stands without the door” (296).

Roderick, who slowly falls into insanity, ironically calls the narrator the “Madman.” We are left to reflect on what Poe means by this ironic twist. Poe’s bleak and dark imagery, and his use of mirror reflections, seem only to intensify the hopelessness of “Usher.” We can plausibly conclude that, indeed, the narrator is the “Madman,” for he comes from everyday society, which is a place where hope and faith exist. Poe would probably argue that such a place is opposite to the world of Usher because a world where death is inevitable could not possibly hold such positive values. Therefore, just as Roderick mirrors his sister, the reflection in the tarn mirrors the dilapidation of the house, and the story mirrors the final actions before the death of Usher. “The Fall of the House of Usher” reflects Poe’s view that humanity is hopelessly doomed.

Poe, Edgar Allan. “The Fall of the House of Usher.” 1839. Electronic Text Center, University of Virginia Library . 1995. Web. 1 July 2012. < http://etext.virginia.edu/toc/modeng/public/PoeFall.html >.

Example 3: Poetry

Amy Chisnell

Professor Laura Neary

Writing and Literature

April 17, 20—

Don’t Listen to the Egg!: A Close Reading of Lewis Carroll’s “Jabberwocky”

“You seem very clever at explaining words, Sir,” said Alice. “Would you kindly tell me the meaning of the poem called ‘Jabberwocky’?”

“Let’s hear it,” said Humpty Dumpty. “I can explain all the poems that ever were invented—and a good many that haven’t been invented just yet.” (Carroll 164)

In Lewis Carroll’s Through the Looking-Glass , Humpty Dumpty confidently translates (to a not so confident Alice) the complicated language of the poem “Jabberwocky.” The words of the poem, though nonsense, aptly tell the story of the slaying of the Jabberwock. Upon finding “Jabberwocky” on a table in the looking-glass room, Alice is confused by the strange words. She is quite certain that “ somebody killed something ,” but she does not understand much more than that. When later she encounters Humpty Dumpty, she seizes the opportunity at having the knowledgeable egg interpret—or translate—the poem. Since Humpty Dumpty professes to be able to “make a word work” for him, he is quick to agree. Thus he acts like a New Critic who interprets the poem by performing a close reading of it. Through Humpty’s interpretation of the first stanza, however, we see the poem’s deeper comment concerning the practice of interpreting poetry and literature in general—that strict analytical translation destroys the beauty of a poem. In fact, Humpty Dumpty commits the “heresy of paraphrase,” for he fails to understand that meaning cannot be separated from the form or structure of the literary work.

Of the 71 words found in “Jabberwocky,” 43 have no known meaning. They are simply nonsense. Yet through this nonsensical language, the poem manages not only to tell a story but also gives the reader a sense of setting and characterization. One feels, rather than concretely knows, that the setting is dark, wooded, and frightening. The characters, such as the Jubjub bird, the Bandersnatch, and the doomed Jabberwock, also appear in the reader’s head, even though they will not be found in the local zoo. Even though most of the words are not real, the reader is able to understand what goes on because he or she is given free license to imagine what the words denote and connote. Simply, the poem’s nonsense words are the meaning.

Therefore, when Humpty interprets “Jabberwocky” for Alice, he is not doing her any favors, for he actually misreads the poem. Although the poem in its original is constructed from nonsense words, by the time Humpty is done interpreting it, it truly does not make any sense. The first stanza of the original poem is as follows:

’Twas brillig, and the slithy toves

Did gyre and gimble in the wabe;

All mimsy were the borogroves,

An the mome raths outgrabe. (Carroll 164)

If we replace, however, the nonsense words of “Jabberwocky” with Humpty’s translated words, the effect would be something like this:

’Twas four o’clock in the afternoon, and the lithe and slimy badger-lizard-corkscrew creatures

Did go round and round and make holes in the grass-plot round the sun-dial:

All flimsy and miserable were the shabby-looking birds

with mop feathers,

And the lost green pigs bellowed-sneezed-whistled.

By translating the poem in such a way, Humpty removes the charm or essence—and the beauty, grace, and rhythm—from the poem. The poetry is sacrificed for meaning. Humpty Dumpty commits the heresy of paraphrase. As Cleanth Brooks argues, “The structure of a poem resembles that of a ballet or musical composition. It is a pattern of resolutions and balances and harmonizations” (203). When the poem is left as nonsense, the reader can easily imagine what a “slithy tove” might be, but when Humpty tells us what it is, he takes that imaginative license away from the reader. The beauty (if that is the proper word) of “Jabberwocky” is in not knowing what the words mean, and yet understanding. By translating the poem, Humpty takes that privilege from the reader. In addition, Humpty fails to recognize that meaning cannot be separated from the structure itself: the nonsense poem reflects this literally—it means “nothing” and achieves this meaning by using “nonsense” words.

Furthermore, the nonsense words Carroll chooses to use in “Jabberwocky” have a magical effect upon the reader; the shadowy sound of the words create the atmosphere, which may be described as a trance-like mood. When Alice first reads the poem, she says it seems to fill her head “with ideas.” The strange-sounding words in the original poem do give one ideas. Why is this? Even though the reader has never heard these words before, he or she is instantly aware of the murky, mysterious mood they set. In other words, diction operates not on the denotative level (the dictionary meaning) but on the connotative level (the emotion(s) they evoke). Thus “Jabberwocky” creates a shadowy mood, and the nonsense words are instrumental in creating this mood. Carroll could not have simply used any nonsense words.

For example, let us change the “dark,” “ominous” words of the first stanza to “lighter,” more “comic” words:

’Twas mearly, and the churly pells

Did bimble and ringle in the tink;

All timpy were the brimbledimps,

And the bip plips outlink.

Shifting the sounds of the words from dark to light merely takes a shift in thought. To create a specific mood using nonsense words, one must create new words from old words that convey the desired mood. In “Jabberwocky,” Carroll mixes “slimy,” a grim idea, “lithe,” a pliable image, to get a new adjective: “slithy” (a portmanteau word). In this translation, brighter words were used to get a lighter effect. “Mearly” is a combination of “morning” and “early,” and “ringle” is a blend of “ring” and "dingle.” The point is that “Jabberwocky’s” nonsense words are created specifically to convey this shadowy or mysterious mood and are integral to the “meaning.”

Consequently, Humpty’s rendering of the poem leaves the reader with a completely different feeling than does the original poem, which provided us with a sense of ethereal mystery, of a dark and foreign land with exotic creatures and fantastic settings. The mysteriousness is destroyed by Humpty’s literal paraphrase of the creatures and the setting; by doing so, he has taken the beauty away from the poem in his attempt to understand it. He has committed the heresy of paraphrase: “If we allow ourselves to be misled by it [this heresy], we distort the relation of the poem to its ‘truth’… we split the poem between its ‘form’ and its ‘content’” (Brooks 201). Humpty Dumpty’s ultimate demise might be seen to symbolize the heretical split between form and content: as a literary creation, Humpty Dumpty is an egg, a well-wrought urn of nonsense. His fall from the wall cracks him and separates the contents from the container, and not even all the King’s men can put the scrambled egg back together again!

Through the odd characters of a little girl and a foolish egg, “Jabberwocky” suggests a bit of sage advice about reading poetry, advice that the New Critics built their theories on. The importance lies not solely within strict analytical translation or interpretation, but in the overall effect of the imagery and word choice that evokes a meaning inseparable from those literary devices. As Archibald MacLeish so aptly writes: “A poem should not mean / But be.” Sometimes it takes a little nonsense to show us the sense in something.

Brooks, Cleanth. The Well-Wrought Urn: Studies in the Structure of Poetry . 1942. San Diego: Harcourt Brace, 1956. Print.

Carroll, Lewis. Through the Looking-Glass. Alice in Wonderland . 2nd ed. Ed. Donald J. Gray. New York: Norton, 1992. Print.

MacLeish, Archibald. “Ars Poetica.” The Oxford Book of American Poetry . Ed. David Lehman. Oxford: Oxford UP, 2006. 385–86. Print.

Attribution

• Sample Essay 1 received permission from Victoria Morillo to publish, licensed Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International ( CC BY-NC-SA 4.0 )
• Sample Essays 2 and 3 adapted from Cordell, Ryan and John Pennington. "2.5: Student Sample Papers" from Creating Literary Analysis. 2012. Licensed Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported ( CC BY-NC-SA 3.0 )

Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.

61 Body Paragraphs

Ann Inoshita; Karyl Garland; Kate Sims; Jeanne K. Tsutsui Keuma; Tasha Williams; and Christina Frasier

Learning Objectives

• Identify the goals and parameters of body paragraphs.
• Identify the component parts of a body paragraph
• Organize supporting evidence that sticks to the thesis sentence
• Develop paragraphs using the PIE technique

If the thesis is the framework for the essay, then body paragraphs should closely follow that framwork. The reader should be able to predict what follows an introductory paragraph by simply reading the thesis statement. The body paragraphs present the evidence the reader has gathered to support the overall thesis. Before writers begin to support the thesis within the body paragraphs, they should find information from a variety of sources that support the topic.

• Select primary support for the thesis

Without primary support, the argument is not likely to be convincing. Primary support can be described as the major points writers choose to expand on the thesis. It is the most important information they select to argue their chosen points of view. Each point they choose will be incorporated into the topic sentence for each body paragraph they write. The primary foundational points are further supported by evidentiary details within the paragraphs.

• Identify the characteristics of good primary support

In order to fulfill the requirements of good primary support, the information writers choose must meet the following standards:

Be specific

The main points they make about the thesis and the examples they use to expand on those points need to be specific. Writers use specific examples to provide the evidence and to build upon the general ideas. These types of examples give the reader something narrow to focus on, and, if used properly, they leave little doubt about their claim. General examples, while they convey the necessary information, are not nearly as compelling or useful in writing because they are too obvious and typical.

Be relevant to the thesis

Primary support is considered strong when it relates directly to the thesis. Primary support should show, explain, or prove their main argument without delving into irrelevant details. When faced with a great deal of information that could be used to prove the thesis, writers may think all the information should be included in the body paragraphs. However, effective writers resist the temptation to lose focus. Good writers choose examples wisely by making sure they directly connect to the thesis.

Add details

The thesis, while specific, should not be very detailed. Discussion develops in the body paragraphs. Using detailed support shows readers that the writer has considered all the facts and chosen only the most precise details to enhance the point of view.

• Prewrite to identify primary supporting points for a thesis statement

When writers brainstorm on a topic, they essentially make a list of examples or reasons they support the stance. Stemming from each point, the writer should provide details to support those reasons. After prewriting, the writer is then able to look back at the information and choose the most compelling pieces to use in writing body paragraphs.

• Select the most effective primary supporting points for a thesis statement

After writers have engaged in prewriting to formulate working thesis statements, they may have generated a large amount of information, which may be edited later. It is helpful to remember that primary support must be relevant to the thesis. Focusing on the main argument, any ideas that do not directly relate to it can be deleted. Omitting unrelated ideas ensures that writers will use only the most convincing information in their body paragraphs. For many first-year writing assignments, students would do well to choose at least three of the most compelling points. These will serve as the content for the topic sentences that will usually begin each of the body paragraphs.

• Body paragraph structure

One way to think about a body paragraph is that it, essentially, consists of three main parts: the main point or topic sentence, information and evidence that supports the main point, and an example of how the information gives foundation to the main point and the essay’s overall thesis. The three parts of a paragraph can be referred to as the following:

I = Information

E = Explanation

Example of an abbreviated version of PIE:

As a pedestrian in Hawai‘i, it is important to be aware of one’s surroundings. In 2018, 43 pedestrians died in car accidents (Gordon 3). Hawai‘i’s roadways can be dangerous, and being vigilant is necessary in order to increase pedestrian safety.

• Point: As a pedestrian in Hawai‘i, it is important to be aware of your surroundings.
• Information: In 2018, 43 pedestrians died in car accident.
• Explanation: Hawai‘i’s roadways can be dangerous, and being vigilant is necessary to increase pedestrian safety.
• Use transitions

Transitional words and phrases help to organize an essay and improve clarity for the reader.

Further Resources

Ashford University Writing Center: “ Essay Development: Good paragraph development: as easy as P.I.E. ” Writing resources.

Works Cited

“ 43 pedestrians died on Hawaii roadways in 2018. That’s more than the number killed in vehicles. ” HawaiiNewsNow, 3 January 2019.

Adapted from English Composition: Connect, Collaborate, Communicate  by Ann Inoshita ; Karyl Garland; Kate Sims; Jeanne K. Tsutsui Keuma ; and Tasha Williams,  CC BY 4.0  

Body Paragraphs Copyright © by Ann Inoshita; Karyl Garland; Kate Sims; Jeanne K. Tsutsui Keuma; Tasha Williams; and Christina Frasier is licensed under a Creative Commons Attribution 4.0 International License , except where otherwise noted.

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TOPIC SENTENCE/ In his numerous writings, Marx critiques capitalism by identifying its flaws. ANALYSIS OF EVIDENCE/ By critiquing the political economy and capitalism, Marx implores his reader to think critically about their position in society and restores awareness in the proletariat class. EVIDENCE/ To Marx, capitalism is a system characterized by the “exploitation of the many by the few,” in which workers accept the exploitation of their labor and receive only harm of “alienation,” rather than true benefits ( MER 487). He writes that “labour produces for the rich wonderful things – but for the worker it produces privation. It produces palaces—but for the worker, hovels. It produces beauty—but for the worker, deformity” (MER 73). Marx argues capitalism is a system in which the laborer is repeatedly harmed and estranged from himself, his labor, and other people, while the owner of his labor – the capitalist – receives the benefits ( MER 74). And while industry progresses, the worker “sinks deeper and deeper below the conditions of existence of his own class” ( MER 483).  ANALYSIS OF EVIDENCE/ But while Marx critiques the political economy, he does not explicitly say “capitalism is wrong.” Rather, his close examination of the system makes its flaws obvious. Only once the working class realizes the flaws of the system, Marx believes, will they - must they - rise up against their bourgeois masters and achieve the necessary and inevitable communist revolution.

Not every paragraph will be structured exactly like this one, of course. But as you draft your own paragraphs, look for all three of these elements: topic sentence, evidence, and analysis.

• picture_as_pdf Anatomy Of a Body Paragraph

Writing A Literary Analysis Essay

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

Video Links

Elements of a short story, Part 1

YouTube video

Elements of a short story, Part 2

online tools

Collaborative Mind Mapping  – collaborative brainstorming site

Sample Literary Analysis Essay Outline 

Paper Format and Structure

Analyzing Literature and writing a Literary Analysis

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

Writing & Analyzing process

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Dialogue:  any communication between two characters

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

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

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

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

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

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

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

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

Ask some of the following questions when analyzing literary work:

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

Creating an Outline

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

I. Introduction: Title

A. a hook statement or sentence to draw in readers

B. Introduce your topic for the literary analysis. 

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

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

II. Body paragraph

A. first point for your analysis or evidence from thesis

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

III. second evidence from thesis

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

IV. third evidence from thesis

V. Conclusion

A. wrap up the essay

B. restate the argument and why its important

C. Don't add any new ideas or arguments

VI: Bibliography: Reference or works cited page

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

Links & Resources

Literary Analysis Guide

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

The Writing Center @ UNC-Chapel Hill

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

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

Resources for Literary Analysis Writing 

Some free resources on this site but some are subscription only

Students Teaching English Paper Strategies 

The Internet Public Library: Literary Criticism

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beginner's guide to literary analysis

Understanding literature & how to write literary analysis.

Literary analysis is the foundation of every college and high school English class. Once you can comprehend written work and respond to it, the next step is to learn how to think critically and complexly about a work of literature in order to analyze its elements and establish ideas about its meaning.

If that sounds daunting, it shouldn’t. Literary analysis is really just a way of thinking creatively about what you read. The practice takes you beyond the storyline and into the motives behind it. 

While an author might have had a specific intention when they wrote their book, there’s still no right or wrong way to analyze a literary text—just your way. You can use literary theories, which act as “lenses” through which you can view a text. Or you can use your own creativity and critical thinking to identify a literary device or pattern in a text and weave that insight into your own argument about the text’s underlying meaning. 

Now, if that sounds fun, it should , because it is. Here, we’ll lay the groundwork for performing literary analysis, including when writing analytical essays, to help you read books like a critic. 

What Is Literary Analysis?

As the name suggests, literary analysis is an analysis of a work, whether that’s a novel, play, short story, or poem. Any analysis requires breaking the content into its component parts and then examining how those parts operate independently and as a whole. In literary analysis, those parts can be different devices and elements—such as plot, setting, themes, symbols, etcetera—as well as elements of style, like point of view or tone. 

When performing analysis, you consider some of these different elements of the text and then form an argument for why the author chose to use them. You can do so while reading and during class discussion, but it’s particularly important when writing essays. 

Literary analysis is notably distinct from summary. When you write a summary , you efficiently describe the work’s main ideas or plot points in order to establish an overview of the work. While you might use elements of summary when writing analysis, you should do so minimally. You can reference a plot line to make a point, but it should be done so quickly so you can focus on why that plot line matters . In summary (see what we did there?), a summary focuses on the “ what ” of a text, while analysis turns attention to the “ how ” and “ why .”

While literary analysis can be broad, covering themes across an entire work, it can also be very specific, and sometimes the best analysis is just that. Literary critics have written thousands of words about the meaning of an author’s single word choice; while you might not want to be quite that particular, there’s a lot to be said for digging deep in literary analysis, rather than wide. 

Although you’re forming your own argument about the work, it’s not your opinion . You should avoid passing judgment on the piece and instead objectively consider what the author intended, how they went about executing it, and whether or not they were successful in doing so. Literary criticism is similar to literary analysis, but it is different in that it does pass judgement on the work. Criticism can also consider literature more broadly, without focusing on a singular work. 

Once you understand what constitutes (and doesn’t constitute) literary analysis, it’s easy to identify it. Here are some examples of literary analysis and its oft-confused counterparts: 

Summary: In “The Fall of the House of Usher,” the narrator visits his friend Roderick Usher and witnesses his sister escape a horrible fate.  

Opinion: In “The Fall of the House of Usher,” Poe uses his great Gothic writing to establish a sense of spookiness that is enjoyable to read. 

Literary Analysis: “Throughout ‘The Fall of the House of Usher,’ Poe foreshadows the fate of Madeline by creating a sense of claustrophobia for the reader through symbols, such as in the narrator’s inability to leave and the labyrinthine nature of the house. 

In summary, literary analysis is:

• Breaking a work into its components
• Identifying what those components are and how they work in the text
• Developing an understanding of how they work together to achieve a goal 
• Not an opinion, but subjective 
• Not a summary, though summary can be used in passing 
• Best when it deeply, rather than broadly, analyzes a literary element

Literary Analysis and Other Works

As discussed above, literary analysis is often performed upon a single work—but it doesn’t have to be. It can also be performed across works to consider the interplay of two or more texts. Regardless of whether or not the works were written about the same thing, or even within the same time period, they can have an influence on one another or a connection that’s worth exploring. And reading two or more texts side by side can help you to develop insights through comparison and contrast.

For example, Paradise Lost is an epic poem written in the 17th century, based largely on biblical narratives written some 700 years before and which later influenced 19th century poet John Keats. The interplay of works can be obvious, as here, or entirely the inspiration of the analyst. As an example of the latter, you could compare and contrast the writing styles of Ralph Waldo Emerson and Edgar Allan Poe who, while contemporaries in terms of time, were vastly different in their content. 

Additionally, literary analysis can be performed between a work and its context. Authors are often speaking to the larger context of their times, be that social, political, religious, economic, or artistic. A valid and interesting form is to compare the author’s context to the work, which is done by identifying and analyzing elements that are used to make an argument about the writer’s time or experience. 

For example, you could write an essay about how Hemingway’s struggles with mental health and paranoia influenced his later work, or how his involvement in the Spanish Civil War influenced his early work. One approach focuses more on his personal experience, while the other turns to the context of his times—both are valid. 

Why Does Literary Analysis Matter? 

Sometimes an author wrote a work of literature strictly for entertainment’s sake, but more often than not, they meant something more. Whether that was a missive on world peace, commentary about femininity, or an allusion to their experience as an only child, the author probably wrote their work for a reason, and understanding that reason—or the many reasons—can actually make reading a lot more meaningful. 

Performing literary analysis as a form of study unquestionably makes you a better reader. It’s also likely that it will improve other skills, too, like critical thinking, creativity, debate, and reasoning. 

At its grandest and most idealistic, literary analysis even has the ability to make the world a better place. By reading and analyzing works of literature, you are able to more fully comprehend the perspectives of others. Cumulatively, you’ll broaden your own perspectives and contribute more effectively to the things that matter to you. 

Literary Terms to Know for Literary Analysis 

There are hundreds of literary devices you could consider during your literary analysis, but there are some key tools most writers utilize to achieve their purpose—and therefore you need to know in order to understand that purpose. These common devices include: 

• Characters: The people (or entities) who play roles in the work. The protagonist is the main character in the work. 
• Conflict: The conflict is the driving force behind the plot, the event that causes action in the narrative, usually on the part of the protagonist
• Context : The broader circumstances surrounding the work political and social climate in which it was written or the experience of the author. It can also refer to internal context, and the details presented by the narrator 
• Diction : The word choice used by the narrator or characters 
• Genre: A category of literature characterized by agreed upon similarities in the works, such as subject matter and tone
• Imagery : The descriptive or figurative language used to paint a picture in the reader’s mind so they can picture the story’s plot, characters, and setting 
• Metaphor: A figure of speech that uses comparison between two unlike objects for dramatic or poetic effect
• Narrator: The person who tells the story. Sometimes they are a character within the story, but sometimes they are omniscient and removed from the plot. 
• Plot : The storyline of the work
• Point of view: The perspective taken by the narrator, which skews the perspective of the reader 
• Setting : The time and place in which the story takes place. This can include elements like the time period, weather, time of year or day, and social or economic conditions 
• Symbol : An object, person, or place that represents an abstract idea that is greater than its literal meaning 
• Syntax : The structure of a sentence, either narration or dialogue, and the tone it implies
• Theme : A recurring subject or message within the work, often commentary on larger societal or cultural ideas
• Tone : The feeling, attitude, or mood the text presents

How to Perform Literary Analysis

Step 1: read the text thoroughly.

Literary analysis begins with the literature itself, which means performing a close reading of the text. As you read, you should focus on the work. That means putting away distractions (sorry, smartphone) and dedicating a period of time to the task at hand. 

It’s also important that you don’t skim or speed read. While those are helpful skills, they don’t apply to literary analysis—or at least not this stage. 

Step 2: Take Notes as You Read  

As you read the work, take notes about different literary elements and devices that stand out to you. Whether you highlight or underline in text, use sticky note tabs to mark pages and passages, or handwrite your thoughts in a notebook, you should capture your thoughts and the parts of the text to which they correspond. This—the act of noticing things about a literary work—is literary analysis. 

Step 3: Notice Patterns 

As you read the work, you’ll begin to notice patterns in the way the author deploys language, themes, and symbols to build their plot and characters. As you read and these patterns take shape, begin to consider what they could mean and how they might fit together. 

As you identify these patterns, as well as other elements that catch your interest, be sure to record them in your notes or text. Some examples include: 

• Circle or underline words or terms that you notice the author uses frequently, whether those are nouns (like “eyes” or “road”) or adjectives (like “yellow” or “lush”).
• Highlight phrases that give you the same kind of feeling. For example, if the narrator describes an “overcast sky,” a “dreary morning,” and a “dark, quiet room,” the words aren’t the same, but the feeling they impart and setting they develop are similar. 
• Underline quotes or prose that define a character’s personality or their role in the text.
• Use sticky tabs to color code different elements of the text, such as specific settings or a shift in the point of view. 

By noting these patterns, comprehensive symbols, metaphors, and ideas will begin to come into focus.  

Step 4: Consider the Work as a Whole, and Ask Questions

This is a step that you can do either as you read, or after you finish the text. The point is to begin to identify the aspects of the work that most interest you, and you could therefore analyze in writing or discussion. 

Questions you could ask yourself include: 

• What aspects of the text do I not understand?
• What parts of the narrative or writing struck me most?
• What patterns did I notice?
• What did the author accomplish really well?
• What did I find lacking?
• Did I notice any contradictions or anything that felt out of place?  
• What was the purpose of the minor characters?
• What tone did the author choose, and why? 

The answers to these and more questions will lead you to your arguments about the text. 

Step 5: Return to Your Notes and the Text for Evidence

As you identify the argument you want to make (especially if you’re preparing for an essay), return to your notes to see if you already have supporting evidence for your argument. That’s why it’s so important to take notes or mark passages as you read—you’ll thank yourself later!

If you’re preparing to write an essay, you’ll use these passages and ideas to bolster your argument—aka, your thesis. There will likely be multiple different passages you can use to strengthen multiple different aspects of your argument. Just be sure to cite the text correctly! 

If you’re preparing for class, your notes will also be invaluable. When your teacher or professor leads the conversation in the direction of your ideas or arguments, you’ll be able to not only proffer that idea but back it up with textual evidence. That’s an A+ in class participation. 

Step 6: Connect These Ideas Across the Narrative

Whether you’re in class or writing an essay, literary analysis isn’t complete until you’ve considered the way these ideas interact and contribute to the work as a whole. You can find and present evidence, but you still have to explain how those elements work together and make up your argument. 

How to Write a Literary Analysis Essay

When conducting literary analysis while reading a text or discussing it in class, you can pivot easily from one argument to another (or even switch sides if a classmate or teacher makes a compelling enough argument). 

But when writing literary analysis, your objective is to propose a specific, arguable thesis and convincingly defend it. In order to do so, you need to fortify your argument with evidence from the text (and perhaps secondary sources) and an authoritative tone. 

A successful literary analysis essay depends equally on a thoughtful thesis, supportive analysis, and presenting these elements masterfully. We’ll review how to accomplish these objectives below. 

Step 1: Read the Text. Maybe Read It Again. 

Constructing an astute analytical essay requires a thorough knowledge of the text. As you read, be sure to note any passages, quotes, or ideas that stand out. These could serve as the future foundation of your thesis statement. Noting these sections now will help you when you need to gather evidence. 

The more familiar you become with the text, the better (and easier!) your essay will be. Familiarity with the text allows you to speak (or in this case, write) to it confidently. If you only skim the book, your lack of rich understanding will be evident in your essay. Alternatively, if you read the text closely—especially if you read it more than once, or at least carefully revisit important passages—your own writing will be filled with insight that goes beyond a basic understanding of the storyline. 

Step 2: Brainstorm Potential Topics 

Because you took detailed notes while reading the text, you should have a list of potential topics at the ready. Take time to review your notes, highlighting any ideas or questions you had that feel interesting. You should also return to the text and look for any passages that stand out to you. 

When considering potential topics, you should prioritize ideas that you find interesting. It won’t only make the whole process of writing an essay more fun, your enthusiasm for the topic will probably improve the quality of your argument, and maybe even your writing. Just like it’s obvious when a topic interests you in a conversation, it’s obvious when a topic interests the writer of an essay (and even more obvious when it doesn’t). 

Your topic ideas should also be specific, unique, and arguable. A good way to think of topics is that they’re the answer to fairly specific questions. As you begin to brainstorm, first think of questions you have about the text. Questions might focus on the plot, such as: Why did the author choose to deviate from the projected storyline? Or why did a character’s role in the narrative shift? Questions might also consider the use of a literary device, such as: Why does the narrator frequently repeat a phrase or comment on a symbol? Or why did the author choose to switch points of view each chapter? 

Once you have a thesis question , you can begin brainstorming answers—aka, potential thesis statements . At this point, your answers can be fairly broad. Once you land on a question-statement combination that feels right, you’ll then look for evidence in the text that supports your answer (and helps you define and narrow your thesis statement). 

For example, after reading “ The Fall of the House of Usher ,” you might be wondering, Why are Roderick and Madeline twins?, Or even: Why does their relationship feel so creepy?” Maybe you noticed (and noted) that the narrator was surprised to find out they were twins, or perhaps you found that the narrator’s tone tended to shift and become more anxious when discussing the interactions of the twins.

Once you come up with your thesis question, you can identify a broad answer, which will become the basis for your thesis statement. In response to the questions above, your answer might be, “Poe emphasizes the close relationship of Roderick and Madeline to foreshadow that their deaths will be close, too.” 

Step 3: Gather Evidence 

Once you have your topic (or you’ve narrowed it down to two or three), return to the text (yes, again) to see what evidence you can find to support it. If you’re thinking of writing about the relationship between Roderick and Madeline in “The Fall of the House of Usher,” look for instances where they engaged in the text. 

This is when your knowledge of literary devices comes in clutch. Carefully study the language around each event in the text that might be relevant to your topic. How does Poe’s diction or syntax change during the interactions of the siblings? How does the setting reflect or contribute to their relationship? What imagery or symbols appear when Roderick and Madeline are together? 

By finding and studying evidence within the text, you’ll strengthen your topic argument—or, just as valuably, discount the topics that aren’t strong enough for analysis. 

Step 4: Consider Secondary Sources 

In addition to returning to the literary work you’re studying for evidence, you can also consider secondary sources that reference or speak to the work. These can be articles from journals you find on JSTOR, books that consider the work or its context, or articles your teacher shared in class. 

While you can use these secondary sources to further support your idea, you should not overuse them. Make sure your topic remains entirely differentiated from that presented in the source. 

Step 5: Write a Working Thesis Statement

Once you’ve gathered evidence and narrowed down your topic, you’re ready to refine that topic into a thesis statement. As you continue to outline and write your paper, this thesis statement will likely change slightly, but this initial draft will serve as the foundation of your essay. It’s like your north star: Everything you write in your essay is leading you back to your thesis. 

Writing a great thesis statement requires some real finesse. A successful thesis statement is: 

• Debatable : You shouldn’t simply summarize or make an obvious statement about the work. Instead, your thesis statement should take a stand on an issue or make a claim that is open to argument. You’ll spend your essay debating—and proving—your argument. 
• Demonstrable : You need to be able to prove, through evidence, that your thesis statement is true. That means you have to have passages from the text and correlative analysis ready to convince the reader that you’re right. 
• Specific : In most cases, successfully addressing a theme that encompasses a work in its entirety would require a book-length essay. Instead, identify a thesis statement that addresses specific elements of the work, such as a relationship between characters, a repeating symbol, a key setting, or even something really specific like the speaking style of a character. 

Example: By depicting the relationship between Roderick and Madeline to be stifling and almost otherworldly in its closeness, Poe foreshadows both Madeline’s fate and Roderick’s inability to choose a different fate for himself. 

Step 6: Write an Outline 

You have your thesis, you have your evidence—but how do you put them together? A great thesis statement (and therefore a great essay) will have multiple arguments supporting it, presenting different kinds of evidence that all contribute to the singular, main idea presented in your thesis. 

Review your evidence and identify these different arguments, then organize the evidence into categories based on the argument they support. These ideas and evidence will become the body paragraphs of your essay. 

For example, if you were writing about Roderick and Madeline as in the example above, you would pull evidence from the text, such as the narrator’s realization of their relationship as twins; examples where the narrator’s tone of voice shifts when discussing their relationship; imagery, like the sounds Roderick hears as Madeline tries to escape; and Poe’s tendency to use doubles and twins in his other writings to create the same spooky effect. All of these are separate strains of the same argument, and can be clearly organized into sections of an outline. 

Step 7: Write Your Introduction

Your introduction serves a few very important purposes that essentially set the scene for the reader: 

• Establish context. Sure, your reader has probably read the work. But you still want to remind them of the scene, characters, or elements you’ll be discussing. 
• Present your thesis statement. Your thesis statement is the backbone of your analytical paper. You need to present it clearly at the outset so that the reader understands what every argument you make is aimed at. 
• Offer a mini-outline. While you don’t want to show all your cards just yet, you do want to preview some of the evidence you’ll be using to support your thesis so that the reader has a roadmap of where they’re going. 

Step 8: Write Your Body Paragraphs

Thanks to steps one through seven, you’ve already set yourself up for success. You have clearly outlined arguments and evidence to support them. Now it’s time to translate those into authoritative and confident prose. 

When presenting each idea, begin with a topic sentence that encapsulates the argument you’re about to make (sort of like a mini-thesis statement). Then present your evidence and explanations of that evidence that contribute to that argument. Present enough material to prove your point, but don’t feel like you necessarily have to point out every single instance in the text where this element takes place. For example, if you’re highlighting a symbol that repeats throughout the narrative, choose two or three passages where it is used most effectively, rather than trying to squeeze in all ten times it appears. 

While you should have clearly defined arguments, the essay should still move logically and fluidly from one argument to the next. Try to avoid choppy paragraphs that feel disjointed; every idea and argument should feel connected to the last, and, as a group, connected to your thesis. A great way to connect the ideas from one paragraph to the next is with transition words and phrases, such as: 

• Furthermore 
• In addition
• On the other hand
• Conversely 

Step 9: Write Your Conclusion 

Your conclusion is more than a summary of your essay's parts, but it’s also not a place to present brand new ideas not already discussed in your essay. Instead, your conclusion should return to your thesis (without repeating it verbatim) and point to why this all matters. If writing about the siblings in “The Fall of the House of Usher,” for example, you could point out that the utilization of twins and doubles is a common literary element of Poe’s work that contributes to the definitive eeriness of Gothic literature. 

While you might speak to larger ideas in your conclusion, be wary of getting too macro. Your conclusion should still be supported by all of the ideas that preceded it. 

Step 10: Revise, Revise, Revise

Of course you should proofread your literary analysis essay before you turn it in. But you should also edit the content to make sure every piece of evidence and every explanation directly supports your thesis as effectively and efficiently as possible. 

Sometimes, this might mean actually adapting your thesis a bit to the rest of your essay. At other times, it means removing redundant examples or paraphrasing quotations. Make sure every sentence is valuable, and remove those that aren’t. 

Other Resources for Literary Analysis 

With these skills and suggestions, you’re well on your way to practicing and writing literary analysis. But if you don’t have a firm grasp on the concepts discussed above—such as literary devices or even the content of the text you’re analyzing—it will still feel difficult to produce insightful analysis. 

If you’d like to sharpen the tools in your literature toolbox, there are plenty of other resources to help you do so: 

• Check out our expansive library of Literary Devices . These could provide you with a deeper understanding of the basic devices discussed above or introduce you to new concepts sure to impress your professors ( anagnorisis , anyone?). 
• This Academic Citation Resource Guide ensures you properly cite any work you reference in your analytical essay. 
• Our English Homework Help Guide will point you to dozens of resources that can help you perform analysis, from critical reading strategies to poetry helpers. 
• This Grammar Education Resource Guide will direct you to plenty of resources to refine your grammar and writing (definitely important for getting an A+ on that paper). 

Of course, you should know the text inside and out before you begin writing your analysis. In order to develop a true understanding of the work, read through its corresponding SuperSummary study guide . Doing so will help you truly comprehend the plot, as well as provide some inspirational ideas for your analysis.

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Writing Body Paragraphs: How to ‘Layer’ Your Analysis

Allusions. Analogies. Anaphora. Alliteration.

In the past, you might have memorised a bunch of English literary techniques. While knowing your techniques is indeed important, you also need to know how to effectively write your technique analysis into your essays. To get those marks, the most effective way to incorporate literary analysis into your essay writing is to layer your analysis.

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Why You Need to ‘Layer’ Your Analysis 

The purpose of an essay is to convince your reader that your argument is the most correct argument that exists. To create an undeniable argument, your body paragraphs require foolproof analysis . Alright, so what does it mean to ‘analyse’?

According to the Glossary of Key Words , to ‘analyse’ means to “identify components and the relationship between them”. In your English studies, to ‘analyse’ means to conceptually connect the language and literary techniques you identify to the evaluative argument of your thesis statement and topic sentences.

Common Analysis Mistakes

So, why the emphasis on ‘layering’ analysis in your essay’s body paragraphs? Well, when you don’t layer your language and literary analysis, there will inevitably be argumentative ‘holes’ in your essay. When you fail to ‘layer’ your analysis, your reader will not be convinced by your proof. There are three main argumentative mistakes high school students make when it comes to writing essay analysis:

Randomised Analysis

Think of ‘randomised analysis’ as a conceptual cacophony – your body paragraphs have no organisation, no conceptual flow, and no through-line from your analysis to your topic sentence. This erroneous style of analysis occurs when students are not sufficiently familiar with their texts. As a result, ‘randomiser’ students might write any technique they can think of into their body paragraph, even when the technique has nothing to do with their topic sentence! 

Only Small, Sentence-level Analysis

This style of analysis takes a close-reading of a text to the extreme. This kind of ‘magnifying glass’ English student is likely to be extremely familiar with their text to the point where they fail to conceptualise a holistic argument. You might be a ‘magnifying glass’ analyser if you’re someone who fills their entire body paragraphs with microanalysis like diction, repetition, alliteration, and personal pronouns. The problem with this extremely close reading of your text is that you might never zoom out enough to, for example, conceptually connect a single instance of repetition to your topic sentence’s argument. 

Only Big, Structural Analysis

The final style of erroneous analysis happens to students who focus on the ‘big picture’ of their text(s), but never zoom in close enough to prove their argument. You can tell you’re a ‘big picture’ analyser if your body paragraphs rarely mention language techniques that occur at the sentence level. ‘Big picture’ analysers tend to focus on plot, narrative structure, and characterisation instead of looking at a text’s literary and language elements. If you’re a student who finds themselves explaining the plot or character, you might be committing this analytical mistake!  

Have you made any of these analysis mistakes before? 

These three essay analysis mistakes share a common thread – they all make your body paragraph sound like a list of things you know about the text, rather than an argument you’re making. 

When writing literary and language analysis, make sure to ask yourself: Does my body paragraph sound like a list? If your body paragraph sounds like a list rather than holistically layered proof, then you may need to return to the drawing board. Remember: any analysis you write out must demonstrate how your topic sentence proves your essays’ overarching thesis statement. 

Practical Strategies to ‘Layer’ Your Analysis

Now that we know why it’s important to layer your analysis instead of ‘listing’ your language and literary techniques, let’s discuss the practical strategies which will help you achieve a layered body paragraph.

Step One: Differentiate Literary Versus Language Techniques

The first step to layering analysis is to pre-plan the techniques you will use in each point. Remember: not all techniques are made equal. You cannot base your entire argument on repetition, alliteration, or onomatopoeia. Why? These are examples of micro techniques. 

There are two types of techniques: ‘ big techniques’ (literary techniques like motif, metaphor, and imagery that add figurative meaning to a text) and ‘small techniques’ (language techniques like repetition or hyperbaton that exist on the sentence level). To achieve well-layered analysis, you need a mixed bag of big and small techniques. 

But there’s a catch! This mix of techniques can’t be random – you need to ‘sit’ your smaller techniques within your bigger, prioritised techniques. Look at it this way: a series of smaller techniques will ‘construct’ your prioritised technique. 

This article began by mentioning four techniques:

Allusions . Analogies . Anaphora . Alliteration .

This list of techniques actually decreases in order of priority! You can think of the blue techniques as literary techniques and the green as language techniques. 

Before even writing your body paragraph, see if you can scaffold a flowchart of literary and language analysis. Have a look at the example below that’s based on analysing an extract from Harper Lee’s novel To Kill a Mockingbird . 

Maycomb was an old town, but it was a tired old town when I first knew it. In rainy weather the streets turned to red slop; grass grew on the sidewalks, the courthouse sagged in the square. Somehow, it was hotter then: a black dog suffered on a summer’s day; boy mules hitched to Hoover carts flicked flies in the sweltering shade of the square. Men’s stiff collars wilted by nine in the morning. Ladies bathed before noon, after their three-o’clock naps, and by nightfall were like soft teacakes with frostings of sweat and sweet talcum. 

The two scaffold examples would constitute two separate TEE analyses. The maroon boxes represent prioritised techniques while the green boxes represent smaller techniques. 

Step Two: Make Direct References to the Text

Creating foolproof analysis requires more than just mentioning the techniques you’ve identified. You should also situate your techniques in relation to the text. Your analytical sentences should interweave direct quotes from the text to prove that the techniques you’ve identified are accurate and important when it comes to proving your argument. 

For example, The simile of the Maycomb ladies being “like soft teacakes with frostings of sweat and sweet talcum” creates sticky, dessert imagery that emphasises just how hot the Maycomb summer is.  

Notice how the quote from the text is incorporated within the grammatical sense of the sentence. This sentence also has two literary techniques (the simile and the dessert imagery) sandwiched around the quote itself. Even at the sentence level, this example has layered analysis that situates itself alongside a direct reference to the text. 

Step 3: Piece Your Analysis Together

Earlier, we mentioned the importance of having an ‘argumentative flow’. A practical strategy to ensure that all your points of analysis flow from 1) one point to the next, and 2) one sentence to the next is:

Make sure to ‘pick up where you left off’. To ‘pick up where you left off’ means mentioning the key idea of your previous sentence/ point as the beginning of the next sentence/ point. Let’s have a look at what ‘picking up where you left’ looks like within the essay analysis context.

The table below has two examples of the same analytical point; the first example doesn’t refer back to the previous point’s key idea, the second one does. 

What’s the Difference? 

Layering your analysis into cohesive units of meaning allows your argument to conceptually flow from your topic sentence to your literary and language analysis, and from your analysis to your linking sentence. Think of it this way: your smaller techniques sit within your prioritised techniques, and your analytical component (your body paragraphs) sits within your evaluative argument (your thesis statement). 

It may help to visualise your holistic essay as a series of nesting dolls! 

Written by Deborah Prospero

© Matrix Education and www.matrix.edu.au, 2023. Unauthorised use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Matrix Education and www.matrix.edu.au with appropriate and specific direction to the original content.

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4.  Writing the body paragraphs

The body paragraphs of a literature review should include summaries, syntheses, analyses and evaluation of sources.

(i)       Summarizing and synthesizing sources

Summarizing and synthesizing is a key component in writing a literature review. A summary presents key ideas and information from sources. Summarizing previous literature helps you understand the key ideas and content in the topic as they were discussed and interpreted by different scholars. When summarizing, you need to paraphrase the ideas from the sources to avoid plagiarism.

Synthesizing brings information from each source together and combines them into a coherent whole. A synthesis can consolidate summaries of several sources and point out their relationships. It enables you to provide background, explore causes and effects, contrast explanations, or consolidate support for your thesis. Here are the typical steps involved in writing a synthesis:

·          Step 1: Read and understand your source materials fully.

·          Step 2: Look for connections between the materials.

·          Step 3: Write body paragraphs to present the key findings identified from your sources and highlight their co-relations.

Below is an example of a summary and synthesis with a writing teacher’s annotations.

In this example paragraph, rather than merely describing the content of the sources, the author tries to put different sources in conversation with one another by comparing them. The author uses transitions to present the relationship between the three sources clearly.

(ii) Analyzing the sources

After summarizing and synthesizing the sources, the next step is to analyze the sources. It is important to consider the purpose and the nature of the sources as well as how you plan to use them in your literature review. Here are some questions you could ask yourself as you analyze the sources and think about the role you want them to play in your literature review:

·          what are the key terms and concepts?

·          what are the relationships between the sources?

·          how are you going to use the source in your literature review?

o    as an example?

o    for a definition?

o    to elaborate on a certain point?

o    to support a certain point?

o    for compare/ contrast purposes?

o    to explain a certain point?

o    to connect with the main ideas?

o    to justify a point made?

O to demonstrate cause/effect

Below is an example:

(iii) Evaluating the sources

After examining and interpreting individual sources, the final step is to evaluate the sources—in other words, it is time for you to make a judgement based on the evidence given and your analysis. In order to make a fair judgement, you may need to consider the accuracy, authoritativeness, objectivity, currency, relevance and coverage of the sources you have studied. Below are some of the questions you might want to ask yourself when evaluating the sources:

●      Is the idea valid or reliable?

●      Is the idea a biased or fair one?

●      Is the idea a fact or personal opinion?

●      Is the idea an up-to-date or outdated understanding of the topic?

●      Is the idea generated by a sound methodology (e.g. samples, procedures, materials)?

●      Is the author qualified to put forward the idea? Does the idea fall under his/her field of expertise?

●      To what extent does the idea matter in your field of research? What is its relevance to your research focus?

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The materials can be retrieved by students by choosing the genres that interest them on the landing page. Each set of materials includes a genre guide, genre video, and a genre checklist. The genre guide and video are to summarize the genres in two different ways (i.e. textual and dynamic) to fit different learning styles. The genre checklist is for students to self-regulate their writing process. The genre guide and checklist include links to various ELC resources that can provide further explanation to language items (e.g. hedging and academic vocabulary).

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Literary Analysis Essay Writing

Literary Analysis Essay Outline

Literary Analysis Essay Outline - A Step By Step Guide

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How to Write a Literary Analysis Essay - A Step-by-Step Guide

Interesting Literary Analysis Essay Topics & Ideas

Have you ever felt stuck, looking at a blank page, wondering what a literary analysis essay is? You are not sure how to analyze a complicated book or story? 

Writing a literary analysis essay can be tough, even for people who really love books. The hard part is not only understanding the deeper meaning of the story but also organizing your thoughts and arguments in a clear way.

But don't worry!

In this easy-to-follow guide, we will talk about a key tool: The Literary Analysis Essay Outline. 

We'll provide you with the knowledge and tricks you need to structure your analysis the right way. In the end, you'll have the essential skills to understand and structure your literature analysis better.   So, let’s dive in!

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• 1. How to Write a Literary Analysis Essay Outline?
• 2. Literary Analysis Essay Format 
• 3. Literary Analysis Essay Outline Example
• 4. Literary Analysis Essay Topics 

How to Write a Literary Analysis Essay Outline?

An outline is a structure that you decide to give to your writing to make the audience understand your viewpoint clearly. When a writer gathers information on a topic, it needs to be organized to make sense.

When writing a literary analysis essay, its outline is as important as any part of it. For the text’s clarity and readability, an outline is drafted in the essay’s planning phase.

According to the basic essay outline, the following are the elements included in drafting an outline for the essay:

• Introduction
• Thesis statement
• Body paragraphs

A detailed description of the literary analysis outline is provided in the following section.

Literary Analysis Essay Introduction

An introduction section is the first part of the essay. The introductory paragraph or paragraphs provide an insight into the topic and prepares the readers about the literary work.

A literary analysis essay introduction is based on three major elements:

Hook Statement: A hook statement is the opening sentence of the introduction. This statement is used to grab people’s attention. A catchy hook will make the introductory paragraph interesting for the readers, encouraging them to read the entire essay.

For example, in a literary analysis essay, “ Island Of Fear,” the writer used the following hook statement:

“As humans, we all fear something, and we deal with those fears in ways that match our personalities.”

Background Information: Providing background information about the chosen literature work in the introduction is essential. Present information related to the author, title, and theme discussed in the original text.

Moreover, include other elements to discuss, such as characters, setting, and the plot. For example:

“ In Lord of the Flies, William Golding shows the fears of Jack, Ralph, and Piggy and chooses specific ways for each to deal with his fears.”

Thesis Statement: A thesis statement is the writer’s main claim over the chosen piece of literature. 

A thesis statement allows your reader to expect the purpose of your writing. The main objective of writing a thesis statement is to provide your subject and opinion on the essay.

For example, the thesis statement in the “Island of Fear” is:

“...Therefore, each of the three boys reacts to fear in his own unique way.”

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Literary Analysis Essay Body Paragraphs

In body paragraphs, you dig deep into the text, show your insights, and build your argument.

 In this section, we'll break down how to structure and write these paragraphs effectively:

Topic sentence: A topic sentence is an opening sentence of the paragraph. The points that will support the main thesis statement are individually presented in each section.

For example:

“The first boy, Jack, believes that a beast truly does exist…”

Evidence: To support the claim made in the topic sentence, evidence is provided. The evidence is taken from the selected piece of work to make the reasoning strong and logical.

“...He is afraid and admits it; however, he deals with his fear of aggressive violence. He chooses to hunt for the beast, arms himself with a spear, and practice killing it: “We’re strong—we hunt! If there’s a beast, we’ll hunt it down! We’ll close in and beat and beat and beat—!”(91).”

Analysis: A literary essay is a kind of essay that requires a writer to provide his analysis as well.

The purpose of providing the writer’s analysis is to tell the readers about the meaning of the evidence.

“...He also uses the fear of the beast to control and manipulate the other children. Because they fear the beast, they are more likely to listen to Jack and follow his orders...”

Transition words: Transition or connecting words are used to link ideas and points together to maintain a logical flow.  Transition words  that are often used in a literary analysis essay are:

• Furthermore
• Later in the story
• In contrast, etc.

“...Furthermore, Jack fears Ralph’s power over the group and Piggy’s rational thought. This is because he knows that both directly conflict with his thirst for absolute power...”

Concluding sentence: The last sentence of the body that gives a final statement on the topic sentence is the concluding sentence. It sums up the entire discussion held in that specific paragraph.

Here is a literary analysis paragraph example for you: 

Literary Essay Example Pdf

Literary Analysis Essay Conclusion

The last section of the essay is the conclusion part where the writer ties all loose ends of the essay together. To write appropriate and correct concluding paragraphs, add the following information:

• State how your topic is related to the theme of the chosen work
• State how successfully the author delivered the message
• According to your perspective, provide a statement on the topic
• If required, present predictions
• Connect your conclusion to your introduction by restating the thesis statement.
• In the end, provide an opinion about the significance of the work.

For example,

“ In conclusion, William Golding’s novel Lord of the Flies exposes the reader to three characters with different personalities and fears: Jack, Ralph, and Piggy. Each of the boys tries to conquer his fear in a different way. Fear is a natural emotion encountered by everyone, but each person deals with it in a way that best fits his/her individual personality.”

Literary Analysis Essay Outline (PDF)

Literary Analysis Essay Format 

A literary analysis essay delves into the examination and interpretation of a literary work, exploring themes, characters, and literary devices. 

Below is a guide outlining the format for a structured and effective literary analysis essay.

Formatting Guidelines 

• Use a legible font (e.g., Times New Roman or Arial) and set the font size to 12 points.
• Double-space your essay, including the title, headings, and quotations.
• Set one-inch margins on all sides of the page.
• Indent paragraphs by 1/2 inch or use the tab key.
• Page numbers, if required, should be in the header or footer and follow the specified formatting style.

Literary Analysis Essay Outline Example

To fully understand a concept in a writing world, literary analysis outline examples are important. This is to learn how a perfectly structured writing piece is drafted and how ideas are shaped to convey a message. 

The following are the best literary analysis essay examples to help you draft a perfect essay. 

Literary Analysis Essay Rubric (PDF)

High School Literary Analysis Essay Outline

Literary Analysis Essay Outline College (PDF)

Literary Analysis Essay Example Romeo & Juliet (PDF)

AP Literary Analysis Essay Outline

Literary Analysis Essay Outline Middle School

Literary Analysis Essay Topics 

Are you seeking inspiration for your next literary analysis essay? Here is a list of literary analysis essay topics for you:

• The Theme of Alienation in "The Catcher in the Rye"
• The Motif of Darkness in Shakespeare's Tragedies
• The Psychological Complexity of Hamlet's Character
• Analyzing the Narrator's Unreliable Perspective in "The Tell-Tale Heart"
• The Role of Nature in William Wordsworth's Romantic Poetry
• The Representation of Social Class in "To Kill a Mockingbird"
• The Use of Irony in Mark Twain's "The Adventures of Huckleberry Finn"
• The Impact of Holden's Red Hunting Hat in the Novel
• The Power of Setting in Gabriel García Márquez's "One Hundred Years of Solitude"
• The Symbolism of the Conch Shell in William Golding's "Lord of the Flies"

Need more topics? Read our literary analysis essay topics blog!

All in all, writing a literary analysis essay can be tricky if it is your first attempt. Apart from analyzing the work, other elements like a topic and an accurate interpretation must draft this type of essay.

If you are in doubt to draft a perfect essay, get professional assistance from our essay service .

We are a professional essay writing company that provides guidance and helps students to achieve their academic goals. Our qualified writers assist students by providing assistance at an affordable price. 

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Body paragraphs: Moving from general to specific information

Your paper should be organized in a manner that moves from general to specific information. Every time you begin a new subject, think of an inverted pyramid - The broadest range of information sits at the top, and as the paragraph or paper progresses, the author becomes more and more focused on the argument ending with specific, detailed evidence supporting a claim. Lastly, the author explains how and why the information she has just provided connects to and supports her thesis (a brief wrap-up or warrant).

Moving from General to Specific Information

The four elements of a good paragraph (TTEB)

A good paragraph should contain at least the following four elements: T ransition, T opic sentence, specific E vidence and analysis, and a B rief wrap-up sentence (also known as a warrant ) –TTEB!

• A T ransition sentence leading in from a previous paragraph to assure smooth reading. This acts as a hand-off from one idea to the next.
• A T opic sentence that tells the reader what you will be discussing in the paragraph.
• Specific E vidence and analysis that supports one of your claims and that provides a deeper level of detail than your topic sentence.
• A B rief wrap-up sentence that tells the reader how and why this information supports the paper’s thesis. The brief wrap-up is also known as the warrant. The warrant is important to your argument because it connects your reasoning and support to your thesis, and it shows that the information in the paragraph is related to your thesis and helps defend it.

Supporting evidence (induction and deduction)

Induction is the type of reasoning that moves from specific facts to a general conclusion. When you use induction in your paper, you will state your thesis (which is actually the conclusion you have come to after looking at all the facts) and then support your thesis with the facts. The following is an example of induction taken from Dorothy U. Seyler’s Understanding Argument :

There is the dead body of Smith. Smith was shot in his bedroom between the hours of 11:00 p.m. and 2:00 a.m., according to the coroner. Smith was shot with a .32 caliber pistol. The pistol left in the bedroom contains Jones’s fingerprints. Jones was seen, by a neighbor, entering the Smith home at around 11:00 p.m. the night of Smith’s death. A coworker heard Smith and Jones arguing in Smith’s office the morning of the day Smith died.

Conclusion: Jones killed Smith.

Here, then, is the example in bullet form:

• Conclusion: Jones killed Smith
• Support: Smith was shot by Jones’ gun, Jones was seen entering the scene of the crime, Jones and Smith argued earlier in the day Smith died.
• Assumption: The facts are representative, not isolated incidents, and thus reveal a trend, justifying the conclusion drawn.

When you use deduction in an argument, you begin with general premises and move to a specific conclusion. There is a precise pattern you must use when you reason deductively. This pattern is called syllogistic reasoning (the syllogism). Syllogistic reasoning (deduction) is organized in three steps:

• Major premise
• Minor premise

In order for the syllogism (deduction) to work, you must accept that the relationship of the two premises lead, logically, to the conclusion. Here are two examples of deduction or syllogistic reasoning:

• Major premise: All men are mortal.
• Minor premise: Socrates is a man.
• Conclusion: Socrates is mortal.
• Major premise: People who perform with courage and clear purpose in a crisis are great leaders.
• Minor premise: Lincoln was a person who performed with courage and a clear purpose in a crisis.
• Conclusion: Lincoln was a great leader.

So in order for deduction to work in the example involving Socrates, you must agree that (1) all men are mortal (they all die); and (2) Socrates is a man. If you disagree with either of these premises, the conclusion is invalid. The example using Socrates isn’t so difficult to validate. But when you move into more murky water (when you use terms such as courage , clear purpose , and great ), the connections get tenuous.

For example, some historians might argue that Lincoln didn’t really shine until a few years into the Civil War, after many Union losses to Southern leaders such as Robert E. Lee.

The following is a clear example of deduction gone awry:

• Major premise: All dogs make good pets.
• Minor premise: Doogle is a dog.
• Conclusion: Doogle will make a good pet.

If you don’t agree that all dogs make good pets, then the conclusion that Doogle will make a good pet is invalid.

When a premise in a syllogism is missing, the syllogism becomes an enthymeme. Enthymemes can be very effective in argument, but they can also be unethical and lead to invalid conclusions. Authors often use enthymemes to persuade audiences. The following is an example of an enthymeme:

If you have a plasma TV, you are not poor.

The first part of the enthymeme (If you have a plasma TV) is the stated premise. The second part of the statement (you are not poor) is the conclusion. Therefore, the unstated premise is “Only rich people have plasma TVs.” The enthymeme above leads us to an invalid conclusion (people who own plasma TVs are not poor) because there are plenty of people who own plasma TVs who are poor. Let’s look at this enthymeme in a syllogistic structure:

• Major premise: People who own plasma TVs are rich (unstated above).
• Minor premise: You own a plasma TV.
• Conclusion: You are not poor.

To help you understand how induction and deduction can work together to form a solid argument, you may want to look at the United States Declaration of Independence. The first section of the Declaration contains a series of syllogisms, while the middle section is an inductive list of examples. The final section brings the first and second sections together in a compelling conclusion.

How Long Should a College Essay Be

Writing a college essay is a big deal for students, giving them a chance to share their unique stories and ambitions with admissions officers. But here's the thing: figuring out how long it should be can be tricky. 

In this article, we're going to tackle the question of a perfect essay length head-on. We'll break down what influences the ideal length for your essay and give you some tips on finding that sweet spot between saying enough and not saying too much.

Why Following a College Essay Word Limit Is Important

Sticking to the college essay length matters for a few important reasons. Firstly, it shows that you can follow instructions, which is a skill you'll need in college and beyond. Admissions officers have lots of essays to read, so keeping within the limit respects their time and attention. 

Plus, it helps level the playing field for all applicants, giving everyone a fair chance to make their case without overwhelming reviewers with too much information. And on your end, it forces you to be concise and clear, focusing on what really matters in your story. If the word limit of your essay is too large, simply say, ‘ do my essay for me ,’ and our experts will help you fit into any word limit.

Why Essay Length Varies in Different Assignments

The issue of how long is an essay can change depending on the assignment for a few reasons. First off, it's about who's reading it and why. A formal academic essay might need more detail and research, so it could end up longer. But it might be shorter and more casual if you're just sharing your thoughts with a friend. 

Then there's the topic itself – some things need more explanation. Plus, your teacher's guidelines, like how many words or pages to aim for, can also affect how long your essay turns out. It's about fitting the essay to the task at hand and making sure you cover everything you need to without going overboard.

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Wondering about the ideal length for your college essay? You're not alone. Figuring out how much to write can be a head-scratcher for many students. But fear not! In this guide, we'll show you how to strike the right balance between text length and informational richness.

High School Essay

The length of a high school essay can vary depending on the assignment and teacher's instructions. Generally, essays in high school classes range from around 500 to 1000 words, though some assignments may require shorter or longer compositions. The length often reflects the depth of analysis and detail expected by the teacher, as well as the complexity of the topic. 

Shorter essays might focus on summarizing information or making a concise argument, while longer essays allow for more in-depth exploration and analysis. Regardless of length, students should prioritize clarity, coherence, and relevance to effectively convey their ideas and meet the requirements of the assignment.

College Admission Essay

College admission essay length typically ranges from 250 to 650 words, with many colleges setting specific word limits. Admissions officers receive thousands of applications, so brevity is key. A well-crafted essay should be concise yet impactful, showcasing the applicant's personality, experiences, and aspirations within the given word count. 

Adhering to the word limit demonstrates the applicant's ability to follow instructions and communicate effectively, while exceeding it may signal a lack of respect for guidelines or an inability to convey ideas succinctly. 

Undergraduate College Essay

Undergraduate college essay length typically ranges from 400 to 650 words, although some institutions may specify shorter or longer limits. The essay aims to provide admissions officers with insight into the applicant's character, values, and potential contributions to the campus community. 

While brevity is important, the essay should be substantive enough to convey meaningful information about the applicant's experiences and aspirations.

Graduate School Admission Essay

Graduate school admission essay length varies, typically ranging from 500 to 1000 words, although specific requirements may differ by program. These essays allow applicants to articulate their academic and professional goals, research interests, and reasons for pursuing graduate studies. 

Admissions committees seek concise yet comprehensive essays demonstrating the applicant's readiness for advanced academic work and alignment with the program's values and objectives. 

Graduate School Essay

Graduate school essay length typically ranges from 500 to 1000 words, although requirements can vary between programs. These essays serve as a crucial component of the application process, allowing applicants to convey their academic background, research interests, career goals, and suitability for the program. 

Admissions committees value conciseness and coherence, so applicants should prioritize quality over quantity when crafting their essays. Ultimately, the essay should offer a compelling narrative that highlights the applicant's strengths, experiences, and motivations for pursuing graduate studies.

Recommended Length of Each Part of the Essay

While the recommended college essay length of each its part can vary depending on the specific requirements of the assignment or application, here's a general guideline:

• Introduction

The introduction typically comprises 10-15% of the total essay length. It should provide background information on the topic, establish the context, and present the thesis statement or main argument.

• Body Paragraphs

Each body paragraph should be roughly the same length and account for approximately 60-70% of the total essay length. Aim for around 150-200 words per paragraph. Each paragraph should focus on a single main idea or point and provide supporting evidence or examples to strengthen the argument.

The conclusion should be similar in length to the introduction, comprising around 10-15% of the total essay length. It should summarize the main points discussed in the essay, restate the thesis or main argument, and provide a sense of closure or resolution.

Remember that these are general recommendations, and the actual length of each part may vary based on the specific requirements of your assignment or application. 

It's essential to review any guidelines provided and adjust your essay accordingly to meet the expectations of your audience. Use a specialized college essay writing help from experts who always hit the mark when it comes to the length of assignments.

How Long Should an Introduction Be

An introduction should typically span between 50 to 100 words, offering enough context to engage the reader while succinctly presenting the main argument or thesis. It serves as a roadmap for the essay, providing an overview of what to expect without delving into excessive detail.

How Long Is a Body Paragraph

A body paragraph is typically around 100 to 200 words in length, although this can vary depending on the complexity of the topic and the depth of analysis required. Each paragraph should focus on a single main idea or point, supported by evidence or examples, and contribute to the overall argument or thesis of the essay.

How Long Should a Conclusion Paragraph Be

Knowing how long should a college essay be – from 400 to 600 words – a conclusion paragraph should mirror the length of the introduction, comprising between 50 to 100 words of the total essay length. It should summarize the main points discussed in the essay, restate the thesis or main argument, and provide a sense of closure or resolution to the reader.

How to Check Word Count

To check the word count of an essay, you can use various methods depending on the software or platform you're using:

How to Make an Essay Longer

To make an essay longer, consider these strategies:

• Expand Ideas: Add more detail and examples to elaborate on your points.
• Provide Supporting Details: Include additional evidence or references to strengthen your arguments.
• Address Counterarguments: Discuss opposing viewpoints and explain why they're invalid.
• Use More Sources: Incorporate more research to support your claims.
• Use Transitions: Improve the flow between paragraphs with transitional phrases.
• Rephrase and Expand: Clarify and expand on your ideas by revising your sentences.
• Consider Different Angles: Explore the topic from various perspectives.
• Revise Carefully: Edit your essay to ensure added content enhances its quality.

How to Shorten an Essay

To shorten an essay length while maintaining its essence, follow these strategies:

• Remove Redundancy: Cut out repetitive phrases or sentences.
• Combine Similar Ideas: Condense related points to streamline your message.
• Simplify Language: Use clear, concise language to convey your ideas.
• Delete Unnecessary Details: Eliminate irrelevant examples or explanations.
• Focus on Essentials: Keep only the most relevant information.
• Check for Wordiness: Remove filler words and phrases.

When working on your compositions, remember about the impact of remote learning on students and your productiveness.

How to Format a College Essay Based on the Required Length

Let’s explore strategies to tailor your essay's structure and content to fit within specified word limits. By understanding how to adjust your writing style and organization, you'll be better equipped to craft a compelling essay that adheres to length requirements without sacrificing quality or clarity.

Spacing is crucial for how long is an essay looking, its readability and adherence to length requirements. Opting for double-spacing ensures adequate room for markers to review your content and allows for easy reading. Additionally, double-spacing aids in maintaining a clean, organized appearance, enhancing the overall presentation of your essay.

• If the instruction is to double-space the paper, consider using a spacing of 2.1 or 2.2 instead. 
• You can extend the margin size by a quarter, such as increasing the right and bottom margins from 1 inch to 1.25 inches, to make subtle adjustments in length without significantly impacting the overall appearance.
• Another strategy is to increase the spacing between characters, although it should be done cautiously to avoid excessive alterations. 
• Aim to keep the spacing between 1.2 and 1.5 to maintain readability and visual consistency throughout the document.

Font and Size

Font selection and size can be key to adjusting the college essay length. Opt for a standard, easily readable font such as Times New Roman, Arial, or Calibri to ensure clarity and consistency. Aim for a font size of 12 points, which is the standard for most academic writing and provides optimal legibility without sacrificing space or readability.

• If your instructor hasn't specified a font, consider using larger options such as Arial, Bangla Sangam MN, Cambria, or Quicksand. 
• Exercise caution and try not to exceed an increase of 0.1-0.5 points to avoid noticeable alterations. 
• Another technique is to increase the size of punctuation marks, such as periods and commas, by a couple of points compared to the main text size, or italicizing them, which can subtly add to the overall length of your essay.

Following the specified length for your college essay is super important because it shows that you can stick to the rules and pay attention to instructions, which is a skill colleges value. Plus, sticking to the word count helps you be concise and get your point across clearly without rambling or overwhelming the reader.

If you’re struggling to fit into the required word limit, buy a college essay that will be written by a seasoned professional who knows exactly how to meet academic standards.

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Daniel Parker

is a seasoned educational writer focusing on scholarship guidance, research papers, and various forms of academic essays including reflective and narrative essays. His expertise also extends to detailed case studies. A scholar with a background in English Literature and Education, Daniel’s work on EssayPro blog aims to support students in achieving academic excellence and securing scholarships. His hobbies include reading classic literature and participating in academic forums.

is an expert in nursing and healthcare, with a strong background in history, law, and literature. Holding advanced degrees in nursing and public health, his analytical approach and comprehensive knowledge help students navigate complex topics. On EssayPro blog, Adam provides insightful articles on everything from historical analysis to the intricacies of healthcare policies. In his downtime, he enjoys historical documentaries and volunteering at local clinics.

• How long should my essay be? – BigFuture | College Board . (n.d.). https://bigfuture.collegeboard.org/help-center/how-long-should-my-essay-be  
• 12 Strategies to Writing the Perfect College Essay - Harvard Summer School . (2022, August 9). Harvard Summer School. https://summer.harvard.edu/blog/12-strategies-to-writing-the-perfect-college-essay/
• How Long Should a College Essay Be? | Honor Society - Official Honor Society® Website . (n.d.). https://www.honorsociety.org/articles/how-long-should-college-essay-be

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