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What is a Paragraph? Definition, Examples of Paragraphs

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Paragraph definition: A paragraph is a unit of writing in a larger body of work. A paragraph expresses a particular topic or theme.

What is a Paragraph?

A paragraph is a component of fictional prose and non-fiction writings.

When writing essays, research papers, books, etc., new paragraphs are indented to show their beginnings. Each new paragraph begins with a new indentation.

The purpose of a paragraph is to express a speaker’s thoughts on a particular point in a clear way that is unique and specific to that paragraph. In other words, paragraphs shouldn’t be mixing thoughts or ideas. When a new idea is introduced, generally, a writer will introduce a new paragraph.

Basic Paragraph Structure: How to Layout a Paragraph

In non-fiction writing, a body paragraph is any paragraph that comes between the introduction and the conclusion.

A good body paragraph will have the following:

Topic Sentence

Supporting Sentences

What is a supporting sentence? The supporting sentences of a paragraph are the sentences between the topic sentence and the concluding sentence. The supporting sentences “support” the topic sentence. That is, they explain and elaborate the point of the paragraph.

Concluding Sentence

Other Features of Paragraphs

A good paragraph contains many elements. Here are just a few of them.

Unity, Coherence

A paragraph should be organized in a way that it builds appropriately. This could be by sequence of ideas or events. Additionally, transitions should be used from one sentence to the next that connect the ideas and concepts.

Adequate Development

In order for a paragraph to be considered “adequate” or “sufficient,” the paragraph should be well-developed. The reader should not be left wanting more information.

Similarly, the paragraph should include enough evidence to support its topic sentence.

Transitions

One paragraph should logically flow to the next. The ideas in a body of work should be organized so each paragraph transitions well to the next. It should not be choppy.

Additionally, verbal transitions within and between paragraphs should help the reader move seamlessly through the piece of writing.

How Long is a Paragraph?

Paragraphs need to be long enough to express any given idea (long enough to thoroughly explain the topic sentence).

Research papers may call for paragraphs ten sentences or longer.

The overall topic of the writing and content will determine the length of a paragraph. Unfortunately, there is no single number of sentences to a good paragraph.

A general rule of thumb is to begin with a topic sentence; develop that topic well with evidence, examples, and explanations; and conclude the paragraph appropriately.

Summary: What are Paragraphs?

Define paragraph: the definition of paragraph is a group of sentence in which a single topic is developed.

In summary, a paragraph is:

• a unit of writing
• used in non-fiction and fictional prose
• a part of writing that expresses a certain topic

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How to Structure Paragraphs in an Essay

Last Updated: February 28, 2024 Fact Checked

This article was co-authored by Christopher Taylor, PhD and by wikiHow staff writer, Danielle Blinka, MA, MPA . Christopher Taylor is an Adjunct Assistant Professor of English at Austin Community College in Texas. He received his PhD in English Literature and Medieval Studies from the University of Texas at Austin in 2014. There are 9 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 187,016 times.

Writing an essay can be challenging, especially if you're not sure how to structure your paragraphs. If you’re struggling to organize your essay, you’re in luck! Putting your paragraphs in order may become easier after you understand their purpose. Additionally, knowing what to include in your introduction, body, and conclusion paragraphs will help you more easily get your writing assignment finished.

Standard 5-Paragraph Essay Structure

A typical short essay has 5 paragraphs. Begin with a 1-paragraph introduction that gives an overview of the subject and introduces a specific topic or problem. Include at least 3 body paragraphs that support or explain your main point with evidence. End with a concluding paragraph that briefly summarizes your essay.

Essay Template and Sample Essay

Putting Your Paragraphs in Order

• A basic introduction will be about 3-4 sentences long.

• Body paragraphs will make up the bulk of your essay. At a minimum, a body paragraph needs to be 4 sentences long. However, a good body paragraph in a short essay will be at least 6-8 sentences long.

• A good conclusion for a short essay will be 3-4 sentences long.

• For example, let’s say you’re writing an essay about recycling. Your first point might be about the value of local recycling programs, while your second point might be about the importance of encouraging recycling at work or school. A good transition between these two points might be “furthermore” or “additionally.”
• If your third point is about how upcycling might be the best way to reuse old items, a good transition word might be “however” or “on the other hand.” This is because upcycling involves reusing items rather than recycling them, so it's a little bit different. You want your reader to recognize that you're talking about something that slightly contrasts with your original two points.

Structuring Your Introduction

• Provide a quote: “According to Neil LaBute, ‘We live in a disposable society.’”
• Include statistics: “The EPA reports that only 34 percent of waste created by Americans is recycled every year.”
• Give a rhetorical question: “If you could change your habits to save the planet, would you do it?”

• Here’s an example: “Recycling offers a way to reduce waste and reuse old items, but many people don’t bother recycling their old goods. Unless people change their ways, landfills will continue to grow as more generations discard their trash.”

• Here’s how a basic thesis about recycling might look: "To reduce the amount of trash in landfills, people must participate in local recycling programs, start recycling at school or work, and upcycle old items whenever they can."
• If you’re writing an argument or persuasive essay, your thesis might look like this: “Although recycling may take more effort, recycling and upcycling are both valuable ways to prevent expanding landfills.”

Crafting Good Body Paragraphs

• A good body paragraph in a short essay typically has 6-8 sentences. If you’re not sure how many sentences your paragraphs should include, talk to your instructor.
• Write a new paragraph for each of your main ideas. Packing too much information into one paragraph can make it confusing.

• If you begin your essay by writing an outline, include your topic sentence for each paragraph in your outline.
• You might write, “Local recycling programs are a valuable way to reduce waste, but only if people use them.”

• Your evidence might come from books, journal articles, websites, or other authoritative sources .
• The word evidence might make you think of data or experts. However, some essays will include only your ideas, depending on the assignment. In this case, you might be allowed to take evidence from your observations and experiences, but only if your assignment specifically allows this type of evidence.
• You could write, “According to Mayor Anderson’s office, only 23 percent of local households participate in the city’s recycling program.”

• In some cases, you may offer more than one piece of evidence in the same paragraph. Make sure you provide a 1 to 2 sentence explanation for each piece of evidence.
• For instance, “Residents who are using the recycling program aren’t contributing as much trash to local landfills, so they’re helping keep the community clean. On the other hand, most households don’t recycle, so the program isn’t as effective as it could be.”

• For instance, you could write, “Clearly, local recycling programs can make a big difference, but they aren’t the only way to reduce waste.”

Arranging Your Conclusion

• You could write, “By participating in local recycling programs, recycling at work, and upcycling old items, people can reduce their environmental footprint.”

• As an example, “Statistics show that few people are participating in available recycling programs, but they are an effective way to reduce waste. By recycling and upcycling, people can reduce their trash consumption by as much as 70%.”

• Give your readers a call to action. For example, “To save the planet, everyone needs to recycle."
• Offer a solution to the problem you presented. For instance, "With more education about recycling, more people will participate in their local programs."
• Point to the next question that needs to be answered. You might write, "To get more people to recycle, researchers need to determine the reasons why they don't."
• Provide a valuable insight about your topic. As an example, "If everyone recycled, landfills might become a thing of the past."

Community Q&A

• Ask a friend to read your essay and provide you with feedback. Ask if they understand your points and if any ideas need more development. Thanks Helpful 0 Not Helpful 0
• Writing gets easier with practice, so don’t give up! Everyone was a beginner at some point, and it’s normal to struggle with writing. Thanks Helpful 0 Not Helpful 0

• If you copy someone else’s writing or ideas, it’s called plagiarism. Don’t ever plagiarize, as this is a serious offense. Not only will you get in trouble if you plagiarize, you probably won’t receive credit for the assignment. Thanks Helpful 0 Not Helpful 0

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• ↑ https://writingcenter.unc.edu/tips-and-tools/introductions/
• ↑ https://www.student.unsw.edu.au/writing-your-essay
• ↑ https://writingcenter.unc.edu/tips-and-tools/conclusions/
• ↑ https://www.plainlanguage.gov/guidelines/organize/use-transition-words/
• ↑ https://www.esu.edu/writing-studio/guides/hook.cfm
• ↑ https://wts.indiana.edu/writing-guides/how-to-write-a-thesis-statement.html
• ↑ https://libguides.newcastle.edu.au/writing-paragraphs/structure
• ↑ https://lsa.umich.edu/sweetland/undergraduates/writing-guides/how-do-i-write-an-intro--conclusion----body-paragraph.html
• ↑ https://www.umgc.edu/current-students/learning-resources/writing-center/writing-resources/parts-of-an-essay/essay-conclusions

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What this handout is about

This handout will help you understand how paragraphs are formed, how to develop stronger paragraphs, and how to completely and clearly express your ideas.

What is a paragraph?

Paragraphs are the building blocks of papers. Many students define paragraphs in terms of length: a paragraph is a group of at least five sentences, a paragraph is half a page long, etc. In reality, though, the unity and coherence of ideas among sentences is what constitutes a paragraph. A paragraph is defined as “a group of sentences or a single sentence that forms a unit” (Lunsford and Connors 116). Length and appearance do not determine whether a section in a paper is a paragraph. For instance, in some styles of writing, particularly journalistic styles, a paragraph can be just one sentence long. Ultimately, a paragraph is a sentence or group of sentences that support one main idea. In this handout, we will refer to this as the “controlling idea,” because it controls what happens in the rest of the paragraph.

How do I decide what to put in a paragraph?

Before you can begin to determine what the composition of a particular paragraph will be, you must first decide on an argument and a working thesis statement for your paper. What is the most important idea that you are trying to convey to your reader? The information in each paragraph must be related to that idea. In other words, your paragraphs should remind your reader that there is a recurrent relationship between your thesis and the information in each paragraph. A working thesis functions like a seed from which your paper, and your ideas, will grow. The whole process is an organic one—a natural progression from a seed to a full-blown paper where there are direct, familial relationships between all of the ideas in the paper.

The decision about what to put into your paragraphs begins with the germination of a seed of ideas; this “germination process” is better known as brainstorming . There are many techniques for brainstorming; whichever one you choose, this stage of paragraph development cannot be skipped. Building paragraphs can be like building a skyscraper: there must be a well-planned foundation that supports what you are building. Any cracks, inconsistencies, or other corruptions of the foundation can cause your whole paper to crumble.

So, let’s suppose that you have done some brainstorming to develop your thesis. What else should you keep in mind as you begin to create paragraphs? Every paragraph in a paper should be :

• Unified : All of the sentences in a single paragraph should be related to a single controlling idea (often expressed in the topic sentence of the paragraph).
• Clearly related to the thesis : The sentences should all refer to the central idea, or thesis, of the paper (Rosen and Behrens 119).
• Coherent : The sentences should be arranged in a logical manner and should follow a definite plan for development (Rosen and Behrens 119).
• Well-developed : Every idea discussed in the paragraph should be adequately explained and supported through evidence and details that work together to explain the paragraph’s controlling idea (Rosen and Behrens 119).

How do I organize a paragraph?

There are many different ways to organize a paragraph. The organization you choose will depend on the controlling idea of the paragraph. Below are a few possibilities for organization, with links to brief examples:

• Narration : Tell a story. Go chronologically, from start to finish. ( See an example. )
• Description : Provide specific details about what something looks, smells, tastes, sounds, or feels like. Organize spatially, in order of appearance, or by topic. ( See an example. )
• Process : Explain how something works, step by step. Perhaps follow a sequence—first, second, third. ( See an example. )
• Classification : Separate into groups or explain the various parts of a topic. ( See an example. )
• Illustration : Give examples and explain how those examples support your point. (See an example in the 5-step process below.)

Illustration paragraph: a 5-step example

From the list above, let’s choose “illustration” as our rhetorical purpose. We’ll walk through a 5-step process for building a paragraph that illustrates a point in an argument. For each step there is an explanation and example. Our example paragraph will be about human misconceptions of piranhas.

Step 1. Decide on a controlling idea and create a topic sentence

Paragraph development begins with the formulation of the controlling idea. This idea directs the paragraph’s development. Often, the controlling idea of a paragraph will appear in the form of a topic sentence. In some cases, you may need more than one sentence to express a paragraph’s controlling idea.

Controlling idea and topic sentence — Despite the fact that piranhas are relatively harmless, many people continue to believe the pervasive myth that piranhas are dangerous to humans.

Step 2. Elaborate on the controlling idea

Paragraph development continues with an elaboration on the controlling idea, perhaps with an explanation, implication, or statement about significance. Our example offers a possible explanation for the pervasiveness of the myth.

Elaboration — This impression of piranhas is exacerbated by their mischaracterization in popular media.

Step 3. Give an example (or multiple examples)

Paragraph development progresses with an example (or more) that illustrates the claims made in the previous sentences.

Example — For example, the promotional poster for the 1978 horror film Piranha features an oversized piranha poised to bite the leg of an unsuspecting woman.

Step 4. Explain the example(s)

The next movement in paragraph development is an explanation of each example and its relevance to the topic sentence. The explanation should demonstrate the value of the example as evidence to support the major claim, or focus, in your paragraph.

Continue the pattern of giving examples and explaining them until all points/examples that the writer deems necessary have been made and explained. NONE of your examples should be left unexplained. You might be able to explain the relationship between the example and the topic sentence in the same sentence which introduced the example. More often, however, you will need to explain that relationship in a separate sentence.

Explanation for example — Such a terrifying representation easily captures the imagination and promotes unnecessary fear.

Notice that the example and explanation steps of this 5-step process (steps 3 and 4) can be repeated as needed. The idea is that you continue to use this pattern until you have completely developed the main idea of the paragraph.

Step 5. Complete the paragraph’s idea or transition into the next paragraph

The final movement in paragraph development involves tying up the loose ends of the paragraph. At this point, you can remind your reader about the relevance of the information to the larger paper, or you can make a concluding point for this example. You might, however, simply transition to the next paragraph.

Sentences for completing a paragraph — While the trope of the man-eating piranhas lends excitement to the adventure stories, it bears little resemblance to the real-life piranha. By paying more attention to fact than fiction, humans may finally be able to let go of this inaccurate belief.

Finished paragraph

Despite the fact that piranhas are relatively harmless, many people continue to believe the pervasive myth that piranhas are dangerous to humans. This impression of piranhas is exacerbated by their mischaracterization in popular media. For example, the promotional poster for the 1978 horror film Piranha features an oversized piranha poised to bite the leg of an unsuspecting woman. Such a terrifying representation easily captures the imagination and promotes unnecessary fear. While the trope of the man-eating piranhas lends excitement to the adventure stories, it bears little resemblance to the real-life piranha. By paying more attention to fact than fiction, humans may finally be able to let go of this inaccurate belief.

Troubleshooting paragraphs

Problem: the paragraph has no topic sentence.

Imagine each paragraph as a sandwich. The real content of the sandwich—the meat or other filling—is in the middle. It includes all the evidence you need to make the point. But it gets kind of messy to eat a sandwich without any bread. Your readers don’t know what to do with all the evidence you’ve given them. So, the top slice of bread (the first sentence of the paragraph) explains the topic (or controlling idea) of the paragraph. And, the bottom slice (the last sentence of the paragraph) tells the reader how the paragraph relates to the broader argument. In the original and revised paragraphs below, notice how a topic sentence expressing the controlling idea tells the reader the point of all the evidence.

Original paragraph

Piranhas rarely feed on large animals; they eat smaller fish and aquatic plants. When confronted with humans, piranhas’ first instinct is to flee, not attack. Their fear of humans makes sense. Far more piranhas are eaten by people than people are eaten by piranhas. If the fish are well-fed, they won’t bite humans.

Revised paragraph

Although most people consider piranhas to be quite dangerous, they are, for the most part, entirely harmless. Piranhas rarely feed on large animals; they eat smaller fish and aquatic plants. When confronted with humans, piranhas’ first instinct is to flee, not attack. Their fear of humans makes sense. Far more piranhas are eaten by people than people are eaten by piranhas. If the fish are well-fed, they won’t bite humans.

Once you have mastered the use of topic sentences, you may decide that the topic sentence for a particular paragraph really shouldn’t be the first sentence of the paragraph. This is fine—the topic sentence can actually go at the beginning, middle, or end of a paragraph; what’s important is that it is in there somewhere so that readers know what the main idea of the paragraph is and how it relates back to the thesis of your paper. Suppose that we wanted to start the piranha paragraph with a transition sentence—something that reminds the reader of what happened in the previous paragraph—rather than with the topic sentence. Let’s suppose that the previous paragraph was about all kinds of animals that people are afraid of, like sharks, snakes, and spiders. Our paragraph might look like this (the topic sentence is bold):

Like sharks, snakes, and spiders, piranhas are widely feared. Although most people consider piranhas to be quite dangerous, they are, for the most part, entirely harmless . Piranhas rarely feed on large animals; they eat smaller fish and aquatic plants. When confronted with humans, piranhas’ first instinct is to flee, not attack. Their fear of humans makes sense. Far more piranhas are eaten by people than people are eaten by piranhas. If the fish are well-fed, they won’t bite humans.

Problem: the paragraph has more than one controlling idea

If a paragraph has more than one main idea, consider eliminating sentences that relate to the second idea, or split the paragraph into two or more paragraphs, each with only one main idea. Watch our short video on reverse outlining to learn a quick way to test whether your paragraphs are unified. In the following paragraph, the final two sentences branch off into a different topic; so, the revised paragraph eliminates them and concludes with a sentence that reminds the reader of the paragraph’s main idea.

Although most people consider piranhas to be quite dangerous, they are, for the most part, entirely harmless. Piranhas rarely feed on large animals; they eat smaller fish and aquatic plants. When confronted with humans, piranhas’ first instinct is to flee, not attack. Their fear of humans makes sense. Far more piranhas are eaten by people than people are eaten by piranhas. A number of South American groups eat piranhas. They fry or grill the fish and then serve them with coconut milk or tucupi, a sauce made from fermented manioc juices.

Problem: transitions are needed within the paragraph

You are probably familiar with the idea that transitions may be needed between paragraphs or sections in a paper (see our handout on transitions ). Sometimes they are also helpful within the body of a single paragraph. Within a paragraph, transitions are often single words or short phrases that help to establish relationships between ideas and to create a logical progression of those ideas in a paragraph. This is especially likely to be true within paragraphs that discuss multiple examples. Let’s take a look at a version of our piranha paragraph that uses transitions to orient the reader:

Although most people consider piranhas to be quite dangerous, they are, except in two main situations, entirely harmless. Piranhas rarely feed on large animals; they eat smaller fish and aquatic plants. When confronted with humans, piranhas’ instinct is to flee, not attack. But there are two situations in which a piranha bite is likely. The first is when a frightened piranha is lifted out of the water—for example, if it has been caught in a fishing net. The second is when the water level in pools where piranhas are living falls too low. A large number of fish may be trapped in a single pool, and if they are hungry, they may attack anything that enters the water.

In this example, you can see how the phrases “the first” and “the second” help the reader follow the organization of the ideas in the paragraph.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Lunsford, Andrea. 2008. The St. Martin’s Handbook: Annotated Instructor’s Edition , 6th ed. New York: St. Martin’s.

Rosen, Leonard J., and Laurence Behrens. 2003. The Allyn & Bacon Handbook , 5th ed. New York: Longman.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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• Tags: Academic Writing , Essay , Essay Writing

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

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

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What is an essay?

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

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

How long is an essay?

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

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

How many paragraphs are in an essay?

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

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

Structure of an essay

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

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

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

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

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

Parts of an essay

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

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

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

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

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

Introduction

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

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

1. Construct an attractive hook

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

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

2. Provide sufficient context or background information

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

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

3. Construct a well-rounded and comprehensive thesis statement

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

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

Let’s take a look at an example.

Essay introduction example

• Background information
• Thesis statement

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

Body paragraphs

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

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

1. Write a topic sentence for each paragraph

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

2. Provide the supporting information

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

3. Analyze the supporting information

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

4. Create a smooth transition to the next paragraph

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

Here’s an example of a body paragraph.

Essay body paragraph example

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

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

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

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

1. Restructure your thesis statement

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

2. Summarize the main points of your essay

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

3. Create a lasting impression with your concluding statement

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

Here’s an example of a concluding paragraph.

Essay conclusion example

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

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

Types of essays

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

1. Narrative essay

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

2. Descriptive essay

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

3. Argumentative essays

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

4. Expository essays

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

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

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

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

Frequently Asked Questions

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

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Paragraph: Definition, Structure and Useful Examples of Paragraphs

When it comes to writing, there is a multitude of things to consider. The term paragraph is often heard but what exactly is a paragraph and how are they used effectively within writing? In this article, we are going to be looking at the definition of a paragraph as well as how they are used. We are going to be taking a look at some examples of the paragraph to gain a better understanding of their function.

What Is A Paragraph?

A paragraph is a block of sentences within a larger piece of writing, this piece of writing could be fictional, an essay , an article or any other piece of written text. Most commonly, a paragraph will be used to discuss a particular theme within the writing, for example, if a piece of writing is talking about animals , the author might use different paragraphs in order to discuss each individual animal to be talked about.

Learn more about how to write an introduction paragraph and a conclusion paragraph .

What Is A Paragraph Used For?

As we have discovered, the paragraph is used within a larger body of writing to separate ideas and themes, but there are many ways in which the paragraph functions. Let’s take a look at some of the things that a paragraph does and the rules that need to be followed when writing one.

• Each paragraph within the writing is used to discuss a specific thought or idea. Mixing ideas and thoughts within a paragraph should not be done and if a new idea needs to be discussed, a new paragraph should be started.
• A paragraph within a book will usually begin with an indentation to signal the start of the new paragraph.
• When writing non-fiction works, a body paragraph is one which appears anywhere between the introduction and the conclusion of the piece of writing and is usually constructed in a particular way.
• The topic sentence will appear at the beginning of the paragraph and will give the reader an idea of what the paragraph is about. It should not be too long or over-explain the idea but should be broad enough to give a clear explanation of the topic to the reader.
• Within the main bulk of the paragraph, the author will write supporting sentences which are used to layout the ideas and thoughts that the paragraph is being used to talk about.
• The final sentence in a paragraph should be used as a conclusion. It is used to wrap up the paragraph and, if necessary lead into the following paragraph.
• Each paragraph should flow and should ideally use transitions as a way of linking thoughts and ideas to one another.
• A paragraph should provide all the information that the reader needs to know and should never leave the reader with a sense of incomplete knowledge.

How Long Should A Paragraph Be?

Whilst there is no set rule for how long a paragraph is ‘allowed’ to be , there are suggestions that a good paragraph should not exceed five sentences.

The length of the paragraph will depend highly on what it needs to discuss and the information within it. There are certain things that each paragraph should adhere to, let’s take a look at these rules.

• A paragraph should be  unified  meaning that each of its sentences should relate to one controlling idea, which is quite commonly shown in the topic sentence.
• The paragraph should  clearly relate to the thesis  meaning that each of the sentences should relate to the thesis or central idea of the piece of writing.
• A paragraph should be fully  coherent meaning that each of the sentences should be organised in a way which is logically making it easy for the reader to understand.
• The paragraph should be  well-developed  meaning that each thought or idea which is discussed should be explained adequately and be supported with data or evidence which help in explaining the controlling idea of the paragraph.

How Should A Paragraph Be Organized?

How you organise your paragraph will depend on the type of paragraph that you are writing. We will now look at some of the various ways you can organise your paragraph as well as looking at an example for each of these.

This type of paragraph is used as a way to tell a story and should be written in chronological (time) order. Let’s see an example of a good narration paragraph.

A man from North Carolina was met with quite the surprise last year whilst river fishing: a piranha . The man reeled in a 1lb 4 ounce fish that has an unusual bite, he could not correctly identify it but a fisherman nearby was able to. At first, he couldn’t believe that he had caught a piranha. He said ‘That’s no piranha, they don’t live around here.’ And he was right, the piranha is usually native to South America and the state of North Carolina has prohibited keeping the fish domestically and bringing it into local waters. This carnivorous fish had likely ended up here as a result of an illegal owner had released it into the river. Officials are hoping that this was the only one in the river but the locals are now wary when entering the water.

Description

A description paragraph will give specific details which appeal to the sense such as how something smells, looks, tastes feels or sounds. This type of paragraph should be ordered in terms of appearance or by topic.

My mother is a tall woman with broad shoulders and a short, cropped hairstyle. Often people mistake her for being male, and this irks her somewhat because she prides herself on her feminine rituals. She always smells of roses due to the excessive amount of perfume she uses and her skin feels like a newborn baby’s. Her silky voice is soft and shows off her caring nature. Despite her imposing build, her femininity exudes from every part of her.

The process paragraph is one which is used to explain something in steps. It is usually laid out and organised as a sequence. Let’s take a look at an example of this.

To prepare the sauce firstly, you should add the chicken stock to the pan along with two cloves of garlic. Secondly, after the mixture has begun to simmer you should sprinkle in the oregano and basil and allow the sauce to cook for two minutes. Finally, you can add in some cornstarch to thicken the liquid and it is now ready to pour over the meat.

Classification

This type of paragraph will explain the particular parts of the topic, separating them into groups. Here is an example of a classification paragraph.

First dates can be categorised as clingy, boastful, awkward or successful. The successful first date will be made up of both people expressing ideas about who they are, what they like and so on. These dates usually end in a plan for a second meeting. A clingy date will end up with one person almost begging to hear information about the other person. But the non-clingy person will not be interested. On a boastful date, one person will talk exclusively about their own talents or skills. The second person is not asked about themselves. An awkward first date will usually involve a lot of silence with both people unaware of how to act. Whilst there are many dates happening every day, they usually fall into one of these categories.

Illustration

An illustration paragraph is one which is used to give examples and show how the examples can be used to prove the author’s point. Let’s take a look at an example of this type of paragraph.

A wrestler will put in a lot of time and effort to be able to be considered to be great or even good. A wrestler will run 5 miles each morning and will lift weights with his team each morning. Practising the sport can be done fro around 2 hours per day and can include takedowns or other technical work. The wrestler will also take part in live matches which involve intense conditioning afterwards. A lot of serious wrestlers are required to put in even more hard work by performing 100 takedowns and stand-ups each day, in order to make themselves better. Strict workouts and good diet are the foundation of the lives of a lot of wrestlers by controlling their weight limit week by week. To be a wrestler, one must be mentally as well as physically tough. This is a sport for men, not boys.

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The Ultimate Guide to the 5-Paragraph Essay

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• M.Ed., Education Administration, University of Georgia
• B.A., History, Armstrong State University

A five-paragraph essay is a prose composition that follows a prescribed format of an introductory paragraph, three body paragraphs, and a concluding paragraph, and is typically taught during primary English education and applied on standardized testing throughout schooling.

Learning to write a high-quality five-paragraph essay is an essential skill for students in early English classes as it allows them to express certain ideas, claims, or concepts in an organized manner, complete with evidence that supports each of these notions. Later, though, students may decide to stray from the standard five-paragraph format and venture into writing an  exploratory essay  instead.

Still, teaching students to organize essays into the five-paragraph format is an easy way to introduce them to writing literary criticism, which will be tested time and again throughout their primary, secondary, and further education.

Writing a Good Introduction

The introduction is the first paragraph in your essay, and it should accomplish a few specific goals: capture the reader's interest, introduce the topic, and make a claim or express an opinion in a thesis statement.

It's a good idea to start your essay with a hook (fascinating statement) to pique the reader's interest, though this can also be accomplished by using descriptive words, an anecdote, an intriguing question, or an interesting fact. Students can practice with creative writing prompts to get some ideas for interesting ways to start an essay.

The next few sentences should explain your first statement, and prepare the reader for your thesis statement, which is typically the last sentence in the introduction. Your  thesis sentence  should provide your specific assertion and convey a clear point of view, which is typically divided into three distinct arguments that support this assertation, which will each serve as central themes for the body paragraphs.

Writing Body Paragraphs

The body of the essay will include three body paragraphs in a five-paragraph essay format, each limited to one main idea that supports your thesis.

To correctly write each of these three body paragraphs, you should state your supporting idea, your topic sentence, then back it up with two or three sentences of evidence. Use examples that validate the claim before concluding the paragraph and using transition words to lead to the paragraph that follows — meaning that all of your body paragraphs should follow the pattern of "statement, supporting ideas, transition statement."

Words to use as you transition from one paragraph to another include: moreover, in fact, on the whole, furthermore, as a result, simply put, for this reason, similarly, likewise, it follows that, naturally, by comparison, surely, and yet.

Writing a Conclusion

The final paragraph will summarize your main points and re-assert your main claim (from your thesis sentence). It should point out your main points, but should not repeat specific examples, and should, as always, leave a lasting impression on the reader.

The first sentence of the conclusion, therefore, should be used to restate the supporting claims argued in the body paragraphs as they relate to the thesis statement, then the next few sentences should be used to explain how the essay's main points can lead outward, perhaps to further thought on the topic. Ending the conclusion with a question, anecdote, or final pondering is a great way to leave a lasting impact.

Once you complete the first draft of your essay, it's a good idea to re-visit the thesis statement in your first paragraph. Read your essay to see if it flows well, and you might find that the supporting paragraphs are strong, but they don't address the exact focus of your thesis. Simply re-write your thesis sentence to fit your body and summary more exactly, and adjust the conclusion to wrap it all up nicely.

Practice Writing a Five-Paragraph Essay

Students can use the following steps to write a standard essay on any given topic. First, choose a topic, or ask your students to choose their topic, then allow them to form a basic five-paragraph by following these steps:

• Decide on your  basic thesis , your idea of a topic to discuss.
• Decide on three pieces of supporting evidence you will use to prove your thesis.
• Write an introductory paragraph, including your thesis and evidence (in order of strength).
• Write your first body paragraph, starting with restating your thesis and focusing on your first piece of supporting evidence.
• End your first paragraph with a transitional sentence that leads to the next body paragraph.
• Write paragraph two of the body focussing on your second piece of evidence. Once again make the connection between your thesis and this piece of evidence.
• End your second paragraph with a transitional sentence that leads to paragraph number three.
• Repeat step 6 using your third piece of evidence.
• Begin your concluding paragraph by restating your thesis. Include the three points you've used to prove your thesis.
• End with a punch, a question, an anecdote, or an entertaining thought that will stay with the reader.

Once a student can master these 10 simple steps, writing a basic five-paragraph essay will be a piece of cake, so long as the student does so correctly and includes enough supporting information in each paragraph that all relate to the same centralized main idea, the thesis of the essay.

Limitations of the Five-Paragraph Essay

The five-paragraph essay is merely a starting point for students hoping to express their ideas in academic writing; there are some other forms and styles of writing that students should use to express their vocabulary in the written form.

According to Tory Young's "Studying English Literature: A Practical Guide":

"Although school students in the U.S. are examined on their ability to write a  five-paragraph essay , its  raison d'être  is purportedly to give practice in basic writing skills that will lead to future success in more varied forms. Detractors feel, however, that writing to rule in this way is more likely to discourage imaginative writing and thinking than enable it. . . . The five-paragraph essay is less aware of its  audience  and sets out only to present information, an account or a kind of story rather than explicitly to persuade the reader."

Students should instead be asked to write other forms, such as journal entries, blog posts, reviews of goods or services, multi-paragraph research papers, and freeform expository writing around a central theme. Although five-paragraph essays are the golden rule when writing for standardized tests, experimentation with expression should be encouraged throughout primary schooling to bolster students' abilities to utilize the English language fully.

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• Write an Attention-Grabbing Opening Sentence for an Essay
• An Essay Revision Checklist
• Examples of Great Introductory Paragraphs
• Make Your Paragraphs Flow to Improve Writing
• How to Write a Narrative Essay or Speech (With Topic Ideas)
• What Is Expository Writing?
• Practice in Supporting a Topic Sentence with Specific Details
• Tips on How to Write an Argumentative Essay
• 100 Persuasive Essay Topics
• Writing an Opinion Essay
• How to Write a Good Thesis Statement
• 501 Topic Suggestions for Writing Essays and Speeches
• Venn Diagrams to Plan Essays and More
• Write a Compare and Contrast Essay
• Writing a Descriptive Essay

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• The Writing Process
• Definition of a Paragraph
• Parts of a Paragraph; Multi-Paragraph Documents
• Rhetorical Modes; Review of Paragraphs
• Unity and Coherence in Essays
• Proving the Thesis/Critical Thinking
• Appropriate Language

Related Pages

What is a paragraph.

A paragraph is a series of sentences on a specific point or topic. A well written paragraph must have a topic sentence which states the main idea: what the paragraph is about. While some say the  topic sentence can be anywhere in the paragraph, it is best to put it as the first sentence in a paragraph. The rest of the sentences in the paragraph support, elaborate, and/or further explain the main idea expressed in the topic sentence.

Paragraphs have varying length depending upon various factors. An average paragraph in an academic essay is about six to eight sentences.

Types of Paragraphs

There are various types of paragraphs such as summaries, abstracts, and answers to questions for a specific assignment.  In addition, there are specialized types of paragraphs for various reports such as feasibility studies or performance reports.

The types of paragraphs covered in this lesson are general paragraphs as would be used in the body of a letter or an academic essay, including general research papers (research essays).

Parts of a Paragraph

Topic sentence – purpose of a paragraph.

Unless you are writing specialized report such as a scientific research paper or a feasibility study that may otherwise show the purpose of a paragraph such as a heading , a well written paragraph must have a topic sentence which states what the paragraph is about.

Whether you are writing a paragraph for a specific assignment, an academic essay, a research paper, or a simple letter, each paragraph should include a topic sentence. The topic sentence should be the first sentence of the paragraph so that the reader knows what the paragraph is about.  The topic sentence in a body paragraph of an essay must be in support for the thesis: a reason why the thesis is true or accurate.

The rest of the sentences in the paragraph of an essay support, elaborate, and/or further explain the topic sentence.

Here is an example of a paragraph:

The first sentence is the topic sentence. See how the rest of the sentences support, elaborate, and/or or further explain it.

Almost every aspect of modern life has been improved through convenience provided by technology. From the alarm clock in the morning to the entertainment center at night, everyday life is improved. The automatic coffee maker has the coffee ready at a certain time. Cars or public transportation bring people to work where computers operate at the push of a button. At home, there’s the convenience of washing machines and dryers, dishwashers, air conditioners, and power lawn mowers. Modern technology has made life better with many conveniences.

Everything in this paragraph is about how modern life has been improved through convenience provided by technology.

Unity and Coherence

A paragraph must have unity.

All of the sentences of a particular paragraph must focus on one point to achieve one goal: to support the topic sentence.

A paragraph must have coherence.

The sentences must flow smoothly and logically from one to the next as they support the topic sentence.

The last sentence of the paragraph should restate the topic sentence to help achieve unity and coherence.

Here is an example with information that  does not  support the topic sentence.

Almost every aspect of modern life has been improved through convenience provided by modern technology.  From the alarm clock in the morning to the entertainment center at night, everyday life is improved. The automatic coffee maker has the coffee ready at a certain time. People are more concerned about health issues and good air quality, so they have started walking or riding a bike to work even though they have the option of using a car or public transportation. There’s the convenience of washing machines and dryers, dishwashers, air conditioners, and power lawn mowers. Modern technology has made life better with many conveniences.

See how just one non-supporting sentence takes away from the effectiveness of the paragraph in showing how modern conveniences make life better since the unity and coherence are affected.  There is no longer unity among all the sentences.  The thought pattern is disjointed and the paragraph loses its coherence.

Here’s another example of a paragraph

Not only has modern technology improved life through convenience, it has improved life through efficiency. The time saved with machines doing most of the work leaves more time for people to develop their personal goals or to just relax. Years ago, when doing laundry could take all day, there wasn’t time left over to read or go to school or even just to take a leisurely walk. Nowadays, people have more time and energy than ever to simply enjoy their lives thanks to the efficiency of modern technology.

Note: See how all the sentences work together to support the point that technology has improved lives through efficiency.

Transitions – Words that Connect

Transitions  are words, groups of words, or sentences that connect one sentence to another or one paragraph to another.

They promote a logical flow from one idea to the next.

While they are not needed in every sentence, they are missed when they are omitted since the flow of thoughts becomes disjointed or even confusing.

There are different types of transitions such as the following:

• Time – before, after, during, in the meantime, nowadays
• Space – over, around, under
• Examples – for instance, one example is
• Comparison –  on the other hand, the opposing view
• Consequence – as a result, subsequently

These are just a few examples. The idea is to paint a clear, logical connection between sentences and between paragraphs.

Here’s how transitions help make a paragraph unified and coherent

Not only  has modern technology improved life through convenience, it has improved life through efficiency.  The time saved with machines doing most of the work leaves more time for people to develop their personal goals or to just relax.   Years ago,  when doing laundry could take all day, there wasn’t time left over to read or go to school or even just to take a leisurely walk.   Nowadays , people have more time and energy than ever to simply enjoy their lives thanks to the efficiency of modern technology.

Each part of a paragraph must support the topic sentence. In addition, the sentences must flow logically from one to the other.

See how the following paragraph has ideas that don’t seem to belong

Growing flowers is fun. The sun rises in the morning and warms the soil. Flowers come in all different sizes, shapes, and colors.  Sometimes, there is not enough rain.  Flowers also bloom during different times of the year. Flowers need nutrients to grow strong and beautiful. There are some children who like to pick the flowers. There are different growing seasons in different parts of the country.  Flowers that will grow high should be planted behind those that will not grow as high. Some people let their dog’s leash extend allowing the dog to go into the flower beds which is not very nice. Designing a flower bed has to consider the different times the flowers will bloom. A substitute for rainfall should be planned. It is fun to grow flowers.

Here is a revised version with unity and coherence.  See how each sentence is clearly part of the whole which is to show how it is fun to grow flowers.

Growing flowers is fun.  Planning the garden is the first step, and it is part of the fun. Flowers must be selected for their size, color, and time of bloom. Selections should be made so that there is at least one type of flower blooming throughout the season and that taller flowers are behind shorter ones. Meeting the challenges to assure growth such as with an irrigation system or hand watering and fertilizing when needed is also part of the fun. It’s wonderful to check the garden every day to see the little green sprouts starting to appear. It gives a great sense of accomplishment and joy to see the flowers in bloom. It is fun to grow flowers.

An example of a paragraph from a business letter  which does  have unity and coherence:

There are several reasons to select my company to do this job. We are a family owned and operated business and have been in business in this county for thirty-five years. In addition to thousands of satisfied customers, we have proudly sponsored many community events and organizations. All of our employees live in this county, and most have stayed with us for years. We have successfully kept our overhead low and pass those savings onto our customers. By far, we are the best company to complete this project.

Note: See how all the sentences work together to support the point that we are the best company to hire.

Here’s a version of the paragraph which  does not  have unity and coherence:

I am happy that the warm weather is finally here! It’s been a cold winter. There are several reasons to select my company to do this job. By far, we are the best company to complete this project. I have a large family, and in addition to having Sunday dinners, we work together in the company, which has many satisfied customers. Some of my employees take the bus to work, so I am concerned about our public transportation system. We have proudly served our community and we use cost saving methods to keep prices low.

An example of a paragraph in an inter-office memo

Beginning January 1, we will have a revised policy concerning new customers. The updated intake form includes additional information, so please be sure to read through and complete each section. Pay particular addition to the additional questions at the bottom as they are now required by the insurance company. We would like to have e-mail addresses as well. You can assure customers that we will not be sending them solicitations nor giving the list to any other businesses. Be sure to fill in the information neatly and accurately. It is preferred that the information be entered directly into the computer although we realize there are times when that is not practical and a hard-copy form will have to be completed by hand. Review the instructions on the back page of the form for more details on the revised policy for new customers.

Note: See how all the sentences work together to support the point shown in the topic sentence that modern technology has expanded accessibility.

Closing/Transitional Statements in Paragraphs

The last sentence of a paragraph should remind the reader of the point of the paragraph and transition into the next paragraph if there is one.  See how the last sentence, for example, in the above paragraph reminds the reader of what the paragraph is about: Review the instructions on the back page of the form for more details on the revised policy for new customers.

Multi-Paragraph Documents

Most paragraphs we see are part of a multi-paragraph document: newspaper and magazine articles, books, business letters and inter-office memorandum, “how-to” documents, and other informational documents.  Usually, there is an organization of the paragraphs in a specific way. The opening paragraph generally gives some idea of what the document is about. The middle paragraphs give more details about the specific point. The last paragraph ends the writing, generally by summing up and repeating the point.

There are some context-specific documents that have more clearly defined paragraphs which are something included as sections of the writing.  For example, a feasibility report might have the following paragraphs: abstract and/or summary, introduction, discussion, conclusion and recommendations.

Paragraphs in Business Letters and Inter-Office Memorandum

Business letters and inter-office memorandums basically have the same organization of the content:  an introduction paragraph, paragraphs that prove or further explain, and a concluding paragraph which sums up and repeats the point.  A business letter, however, is generally written on company stationery and has the date and address block in the upper left, a Re: line, a salutation such as Dear Mr. Haller (although some are no longer using a formal salutation), and a complimentary closing such as Sincerely. An inter-office memorandum is generally written on plain paper, sometimes with the company logo as part of the template, lines with To:, From:, Date:, and Re: in the upper left, and no complimentary closing.

Paragraphs in Informational Documents and Academic Essays

Informational documents.

This refers to groups of writings that are designed to give information about a topic or position on a topic. While they all include a specific thesis (point), have an introduction and concluding paragraph, and have paragraphs that proof or explain the point, there can be wide variety on where the thesis is expressed and the ancillary information presented that is supplemental to the thesis. These are sometimes called essays.  However,  academic  essays do have a very specific organizational pattern.

Academic Essays

The introduction paragraph and the concluding paragraph of an essay are different from a general paragraph. An introduction contains general background information on a topic and leads into a thesis statement. The sentences with background information should be general and not contain proof of the thesis. The sentences should be relevant, however, and logically flow into the thesis. Background sentences include information about the topic and the controversy. Some instructors may prefer other types of content in the introduction in addition to the thesis. It is best to check with an instructor as to whether he or she has a preference for content. In any case, there must be unity and coherence in an introduction paragraph as well. 

While the body paragraph of an academic is the same as a general paragraph in that they have a topic sentence and sentences that support it, the topic sentence must be a reason why the thesis of the essay is accurate. Body paragraphs should clearly support the thesis and not contain any extraneous information. However, one way of proving your thesis is right is by presenting the opposing view and then rebutting it, that is, showing how it is not valid.  

Some instructors say that any opposing information should be in a separate rebuttal paragraph before the concluding paragraph. If not specifically indicated by your instructor, either putting opposing information into the paragraphs related to the specific information or having a separate rebuttal paragraph is appropriate, but not both in the same essay.

A concluding paragraph sums up the proof and restates the thesis. Some instructors ask for a statement drawing an implication of the information presented instead of or in addition to a restatement of the thesis. In either case, while a concluding paragraph, as with the introduction paragraph, does not start with a topic sentence and has the rest of the sentences support the topic sentence, the concluding paragraph is similar in that the summary of the proof ties directly into the thesis or statement of general implication. A concluding paragraph does not have extraneous, off-topic sentences.

Rhetorical Modes as Types of Paragraphs

Narration is when an author writes as though he or she is telling a story. This mode is used more often in fiction, but it can be used in academic essay writing when the best way to help prove the thesis is by relating a sequence of events.

Description/Definition/Exemplification, and Classification

These closely related modes use specific information about certain aspects of a thing, event, or situation. The terms speak for themselves.  Description uses details describing the thing, event, or situation. Definition defines it. Exemplification uses examples, and classification uses categories.

• The rose was red. (description)
• A rose is a flower with soft petals and a beautiful, brief bloom. (definition)
• Roses comes in a variety of colors such as red, yellow, and white. (example)
• Roses come in a variety of types including miniature, climbing, hybrid tea, and floribunda. (classification)

Compare/Contrast

Comparing and/or contrasting one thing, event, or situation is a helpful way to show what it is and isn't. If someone were arguing that a particular type of sneaker was the best, it would be useful to compare to others for support, durability, and price.

Cause and/or Effect

This mode is useful in arguing for or again an action. Showing the cause and/or effect of an action can be persuasive. For example, if someone were arguing for an increase in the speed limit, statistics showing an increase in fatalities where limits are higher would be a persuasive argument.

Persuasion/Argumentation

In a sense, the ultimate intent of all communication is persuasion. Argumentation is one way of talking about debate. We think of arguing as what we do among friends or family members — and it is — but there is a formal way to argue to prove our point. Actually, we can learn how to better have civil arguments, which will be constructive. In thinking about persuasion/argumentation as a rhetorical mode, it refers to a type of writing that is clearly arguing in support of a specific point.

• A paragraph is a series of sentences on a particular point.
• A paragraph should begin with a topic sentence that states that point.
• Sentences with supporting details, such as examples, should follow.
• A paragraph must have unity and coherence where the sentences smoothly and logically flow from one to the next and stay focused on supporting the topic sentence.
• Transition words and phrases should be used to connect sentences and paragraphs for unity and coherence.
• Paragraphs that are part of multi-paragraph documents serve specific functions.
• The special types of paragraphs in business letters and inter-office memorandums.
• The special types of paragraphs in informational documents and academic essays.
• The rhetorical modes that can be used as different types of paragraphs.
• Printer-friendly version

What is an Essay?

10 May, 2020

11 minutes read

Author:  Tomas White

Well, beyond a jumble of words usually around 2,000 words or so - what is an essay, exactly? Whether you’re taking English, sociology, history, biology, art, or a speech class, it’s likely you’ll have to write an essay or two. So how is an essay different than a research paper or a review? Let’s find out!

Defining the Term – What is an Essay?

The essay is a written piece that is designed to present an idea, propose an argument, express the emotion or initiate debate. It is a tool that is used to present writer’s ideas in a non-fictional way. Multiple applications of this type of writing go way beyond, providing political manifestos and art criticism as well as personal observations and reflections of the author.

An essay can be as short as 500 words, it can also be 5000 words or more.  However, most essays fall somewhere around 1000 to 3000 words ; this word range provides the writer enough space to thoroughly develop an argument and work to convince the reader of the author’s perspective regarding a particular issue.  The topics of essays are boundless: they can range from the best form of government to the benefits of eating peppermint leaves daily. As a professional provider of custom writing, our service has helped thousands of customers to turn in essays in various forms and disciplines.

Origins of the Essay

Over the course of more than six centuries essays were used to question assumptions, argue trivial opinions and to initiate global discussions. Let’s have a closer look into historical progress and various applications of this literary phenomenon to find out exactly what it is.

Today’s modern word “essay” can trace its roots back to the French “essayer” which translates closely to mean “to attempt” .  This is an apt name for this writing form because the essay’s ultimate purpose is to attempt to convince the audience of something.  An essay’s topic can range broadly and include everything from the best of Shakespeare’s plays to the joys of April.

The essay comes in many shapes and sizes; it can focus on a personal experience or a purely academic exploration of a topic.  Essays are classified as a subjective writing form because while they include expository elements, they can rely on personal narratives to support the writer’s viewpoint.  The essay genre includes a diverse array of academic writings ranging from literary criticism to meditations on the natural world.  Most typically, the essay exists as a shorter writing form; essays are rarely the length of a novel.  However, several historic examples, such as John Locke’s seminal work “An Essay Concerning Human Understanding” just shows that a well-organized essay can be as long as a novel.

The Essay in Literature

The essay enjoys a long and renowned history in literature.  They first began gaining in popularity in the early 16 th century, and their popularity has continued today both with original writers and ghost writers.  Many readers prefer this short form in which the writer seems to speak directly to the reader, presenting a particular claim and working to defend it through a variety of means.  Not sure if you’ve ever read a great essay? You wouldn’t believe how many pieces of literature are actually nothing less than essays, or evolved into more complex structures from the essay. Check out this list of literary favorites:

• The Book of My Lives by Aleksandar Hemon
• Notes of a Native Son by James Baldwin
• Against Interpretation by Susan Sontag
• High-Tide in Tucson: Essays from Now and Never by Barbara Kingsolver
• Slouching Toward Bethlehem by Joan Didion
• Naked by David Sedaris
• Walden; or, Life in the Woods by Henry David Thoreau

Pretty much as long as writers have had something to say, they’ve created essays to communicate their viewpoint on pretty much any topic you can think of!

The Essay in Academics

Not only are students required to read a variety of essays during their academic education, but they will likely be required to write several different kinds of essays throughout their scholastic career.  Don’t love to write?  Then consider working with a ghost essay writer !  While all essays require an introduction, body paragraphs in support of the argumentative thesis statement, and a conclusion, academic essays can take several different formats in the way they approach a topic.  Common essays required in high school, college, and post-graduate classes include:

Five paragraph essay

This is the most common type of a formal essay. The type of paper that students are usually exposed to when they first hear about the concept of the essay itself. It follows easy outline structure – an opening introduction paragraph; three body paragraphs to expand the thesis; and conclusion to sum it up.

Argumentative essay

These essays are commonly assigned to explore a controversial issue.  The goal is to identify the major positions on either side and work to support the side the writer agrees with while refuting the opposing side’s potential arguments.

Compare and Contrast essay

This essay compares two items, such as two poems, and works to identify similarities and differences, discussing the strength and weaknesses of each.  This essay can focus on more than just two items, however.  The point of this essay is to reveal new connections the reader may not have considered previously.

Definition essay

This essay has a sole purpose – defining a term or a concept in as much detail as possible. Sounds pretty simple, right? Well, not quite. The most important part of the process is picking up the word. Before zooming it up under the microscope, make sure to choose something roomy so you can define it under multiple angles. The definition essay outline will reflect those angles and scopes.

Descriptive essay

Perhaps the most fun to write, this essay focuses on describing its subject using all five of the senses.  The writer aims to fully describe the topic; for example, a descriptive essay could aim to describe the ocean to someone who’s never seen it or the job of a teacher.  Descriptive essays rely heavily on detail and the paragraphs can be organized by sense.

Illustration essay

The purpose of this essay is to describe an idea, occasion or a concept with the help of clear and vocal examples. “Illustration” itself is handled in the body paragraphs section. Each of the statements, presented in the essay needs to be supported with several examples. Illustration essay helps the author to connect with his audience by breaking the barriers with real-life examples – clear and indisputable.

Informative Essay

Being one the basic essay types, the informative essay is as easy as it sounds from a technical standpoint. High school is where students usually encounter with informative essay first time. The purpose of this paper is to describe an idea, concept or any other abstract subject with the help of proper research and a generous amount of storytelling.

Narrative essay

This type of essay focuses on describing a certain event or experience, most often chronologically.  It could be a historic event or an ordinary day or month in a regular person’s life. Narrative essay proclaims a free approach to writing it, therefore it does not always require conventional attributes, like the outline. The narrative itself typically unfolds through a personal lens, and is thus considered to be a subjective form of writing.

Persuasive essay

The purpose of the persuasive essay is to provide the audience with a 360-view on the concept idea or certain topic – to persuade the reader to adopt a certain viewpoint. The viewpoints can range widely from why visiting the dentist is important to why dogs make the best pets to why blue is the best color.  Strong, persuasive language is a defining characteristic of this essay type.

The Essay in Art

Several other artistic mediums have adopted the essay as a means of communicating with their audience.  In the visual arts, such as painting or sculpting, the rough sketches of the final product are sometimes deemed essays.  Likewise, directors may opt to create a film essay which is similar to a documentary in that it offers a personal reflection on a relevant issue.  Finally, photographers often create photographic essays in which they use a series of photographs to tell a story, similar to a narrative or a descriptive essay.

Drawing the line – question answered

“What is an Essay?” is quite a polarizing question. On one hand, it can easily be answered in a couple of words. On the other, it is surely the most profound and self-established type of content there ever was. Going back through the history of the last five-six centuries helps us understand where did it come from and how it is being applied ever since.

If you must write an essay, follow these five important steps to works towards earning the “A” you want:

• Understand and review the kind of essay you must write
• Brainstorm your argument
• Find research from reliable sources to support your perspective
• Cite all sources parenthetically within the paper and on the Works Cited page
• Follow all grammatical rules

Generally speaking, when you must write any type of essay, start sooner rather than later!  Don’t procrastinate – give yourself time to develop your perspective and work on crafting a unique and original approach to the topic.  Remember: it’s always a good idea to have another set of eyes (or three) look over your essay before handing in the final draft to your teacher or professor.  Don’t trust your fellow classmates?  Consider hiring an editor or a ghostwriter to help out!

If you are still unsure on whether you can cope with your task – you are in the right place to get help. HandMadeWriting is the perfect answer to the question “Who can write my essay?”

A life lesson in Romeo and Juliet taught by death

Due to human nature, we draw conclusions only when life gives us a lesson since the experience of others is not so effective and powerful. Therefore, when analyzing and sorting out common problems we face, we may trace a parallel with well-known book characters or real historical figures. Moreover, we often compare our situations with […]

Ethical Research Paper Topics

Writing a research paper on ethics is not an easy task, especially if you do not possess excellent writing skills and do not like to contemplate controversial questions. But an ethics course is obligatory in all higher education institutions, and students have to look for a way out and be creative. When you find an […]

Art Research Paper Topics

Students obtaining degrees in fine art and art & design programs most commonly need to write a paper on art topics. However, this subject is becoming more popular in educational institutions for expanding students’ horizons. Thus, both groups of receivers of education: those who are into arts and those who only get acquainted with art […]

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On Paragraphs

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What is a paragraph?

A paragraph is a collection of related sentences dealing with a single topic. Learning to write good paragraphs will help you as a writer stay on track during your drafting and revision stages. Good paragraphing also greatly assists your readers in following a piece of writing. You can have fantastic ideas, but if those ideas aren't presented in an organized fashion, you will lose your readers (and fail to achieve your goals in writing).

The Basic Rule: Keep one idea to one paragraph

The basic rule of thumb with paragraphing is to keep one idea to one paragraph. If you begin to transition into a new idea, it belongs in a new paragraph. There are some simple ways to tell if you are on the same topic or a new one. You can have one idea and several bits of supporting evidence within a single paragraph. You can also have several points in a single paragraph as long as they relate to the overall topic of the paragraph. If the single points start to get long, then perhaps elaborating on each of them and placing them in their own paragraphs is the route to go.

Elements of a paragraph

To be as effective as possible, a paragraph should contain each of the following: Unity, Coherence, A Topic Sentence, and Adequate Development. As you will see, all of these traits overlap. Using and adapting them to your individual purposes will help you construct effective paragraphs.

The entire paragraph should concern itself with a single focus. If it begins with one focus or major point of discussion, it should not end with another or wander within different ideas.

Coherence is the trait that makes the paragraph easily understandable to a reader. You can help create coherence in your paragraphs by creating logical bridges and verbal bridges.

Logical bridges

• The same idea of a topic is carried over from sentence to sentence
• Successive sentences can be constructed in parallel form

Verbal bridges

• Key words can be repeated in several sentences
• Synonymous words can be repeated in several sentences
• Pronouns can refer to nouns in previous sentences
• Transition words can be used to link ideas from different sentences

A topic sentence

A topic sentence is a sentence that indicates in a general way what idea or thesis the paragraph is going to deal with. Although not all paragraphs have clear-cut topic sentences, and despite the fact that topic sentences can occur anywhere in the paragraph (as the first sentence, the last sentence, or somewhere in the middle), an easy way to make sure your reader understands the topic of the paragraph is to put your topic sentence near the beginning of the paragraph. (This is a good general rule for less experienced writers, although it is not the only way to do it). Regardless of whether you include an explicit topic sentence or not, you should be able to easily summarize what the paragraph is about.

Adequate development

The topic (which is introduced by the topic sentence) should be discussed fully and adequately. Again, this varies from paragraph to paragraph, depending on the author's purpose, but writers should be wary of paragraphs that only have two or three sentences. It's a pretty good bet that the paragraph is not fully developed if it is that short.

Some methods to make sure your paragraph is well-developed:

• Use examples and illustrations
• Cite data (facts, statistics, evidence, details, and others)
• Examine testimony (what other people say such as quotes and paraphrases)
• Use an anecdote or story
• Define terms in the paragraph
• Compare and contrast
• Evaluate causes and reasons
• Examine effects and consequences
• Analyze the topic
• Describe the topic
• Offer a chronology of an event (time segments)

How do I know when to start a new paragraph?

You should start a new paragraph when:

• When you begin a new idea or point. New ideas should always start in new paragraphs. If you have an extended idea that spans multiple paragraphs, each new point within that idea should have its own paragraph.
• To contrast information or ideas. Separate paragraphs can serve to contrast sides in a debate, different points in an argument, or any other difference.
• When your readers need a pause. Breaks between paragraphs function as a short "break" for your readers—adding these in will help your writing be more readable. You would create a break if the paragraph becomes too long or the material is complex.
• When you are ending your introduction or starting your conclusion. Your introductory and concluding material should always be in a new paragraph. Many introductions and conclusions have multiple paragraphs depending on their content, length, and the writer's purpose.

Transitions and signposts

Two very important elements of paragraphing are signposts and transitions. Signposts are internal aids to assist readers; they usually consist of several sentences or a paragraph outlining what the article has covered and where the article will be going.

Transitions are usually one or several sentences that "transition" from one idea to the next. Transitions can be used at the end of most paragraphs to help the paragraphs flow one into the next.

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Entry to a Major Essays

Instructions & guidance.

There are three essay portions to the application: “Statement of Purpose,” “Outstanding Achievements” and “Additional Information.” Although “Outstanding Achievements" and “Additional Information” are optional, it is highly recommended that you complete these essays.

This application uses plain text formatting. You are encouraged to use a word processor like Microsoft Word to compose your essays and to check your word count (250 words for each essay), spelling and grammar. You can then copy and paste your text onto the application text area. 

Do not use AI text generators such as ChatGPT to complete your ETAM application. Using AI text generators may be considered plagiarism and/or cheating according to Student Rule: 20.1.2.3. Suspected use of generative AI may constitute a violation of the Texas A&M Honor Code and will be referred to the Aggie Honor System Office for investigation. More information may be found through the Aggie Honor System Office.

The University Writing Center  is a resource available to help prepare and/or review your essays. View this brief video with ETAM essay tips and information about ETAM-related services from the University Writing Center.

Essay Topics

Additional information for each essay topic is provided below:

• Statement of Purpose:  You will write one “Statement of Purpose” for each major you select. Your statement of purpose should explain your reason for selecting this major and include academic areas of interest, future professional career goals and strengths you would bring to the department. You should clearly articulate why you are interested in a specific major. You can also write about student organizations you have joined within the major or faculty you have met from this major and include all accomplishments related to the major.
• Outstanding Achievements:  Avoid using major-specific language. All majors you apply to will have access to read this essay. Use complete sentences; do not use bullet points. This section gives you an opportunity to discuss any outstanding achievements you feel are notable for departments to consider. Outstanding achievements should include leadership roles, major projects related to engineering, work or internship experience and scholarships you have received. You may use awards from your time in high school — particularly if they are related to engineering, science, math, or any leadership or extracurricular activities such as band, UIL, etc. This is also a great space to discuss AP credit and other academic qualifications.
• Additional Information:  Avoid major-specific language. All majors you apply to will have access to read this essay. This section allows you the opportunity to give additional information you want the committee to consider. You can include extenuating circumstances or other factors influencing your academic performance.
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• Future Perfect

There’s a fix for AI-generated essays. Why aren’t we using it?

ChatGPT didn’t write this and I can prove it.

by Kelsey Piper

It’s the start of the school year, and thus the start of a fresh round of discourse on generative AI’s new role in schools. In the space of about three years, essays have gone from a mainstay of classroom education everywhere to a much less useful tool, for one reason: ChatGPT. Estimates of how many students use ChatGPT for essays vary , but it’s commonplace enough to force teachers to adapt .

While generative AI has many limitations, student essays fall into the category of services that they’re very good at: There are lots of examples of essays on the assigned topics in their training data, there’s demand for an enormous volume of such essays, and the standards for prose quality and original research in student essays are not all that high.

This story was first featured in the Future Perfect newsletter .

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Right now, cheating on essays via the use of AI tools is hard to catch. A number of tools advertise they can verify that text is AI-generated, but they’re not very reliable . Since falsely accusing students of plagiarism is a big deal, these tools would have to be extremely accurate to work at all — and they simply aren’t.

AI fingerprinting with technology

But there is a technical solution here. Back in 2022, a team at OpenAI, led by quantum computing researcher Scott Aaronson , developed a “watermarking” solution that makes AI text virtually unmistakable — even if the end user changes a few words here and there or rearranges text. The solution is a bit technically complicated, but bear with me, because it’s also very interesting.

At its core, the way that AI text generation works is that the AI “guesses” a bunch of possible next tokens given what appears in a text so far. In order not to be overly predictable and produce the same repetitive output constantly, AI models don’t just guess the most probable token — instead, they include an element of randomization, favoring “more likely” completions but sometimes selecting a less likely one.

The watermarking works at this stage. Instead of having the AI generate the next token according to random selection, it has the AI use a nonrandom process: favoring next tokens that get a high score in an internal “scoring” function OpenAI invented. It might, for example, favor words with the letter V just slightly, so that text generated with this scoring rule will have 20 percent more Vs than normal human text (though the actual scoring functions are more complicated than this). Readers wouldn’t normally notice this — in fact, I edited this newsletter to increase the number of Vs in it, and I doubt this variation in my normal writing stood out.

Similarly, the watermarked text will not, at a glance, be different from normal AI output. But it would be straightforward for OpenAI, which knows the secret scoring rule, to evaluate whether a given body of text gets a much higher score on that hidden scoring rule than human-generated text ever would. If, for example, the scoring rule were my above example about the letter V, you could run this newsletter through a verification program and see that it has about 90 Vs in 1,200 words, more than you’d expect based on how often V is used in English. It’s a clever, technically sophisticated solution to a hard problem, and OpenAI has had a working prototype for two years .

So if we wanted to solve the problem of AI text masquerading as human-written text, it’s very much solvable. But OpenAI hasn’t released their watermarking system, nor has anyone else in the industry. Why not?

It’s all about competition

If OpenAI — and only OpenAI — released a watermarking system for ChatGPT, making it easy to tell when generative AI had produced a text, this wouldn’t affect student essay plagiarism in the slightest. Word would get out fast, and everyone would just switch over to one of the many AI options available today: Meta’s Llama, Anthropic’s Claude, Google’s Gemini. Plagiarism would continue unabated, and OpenAI would lose a lot of its user base. So it’s not shocking that they would keep their watermarking system under wraps.

In a situation like this, it might seem appropriate for regulators to step in. If every generative AI system is required to have watermarking, then it’s not a competitive disadvantage. This is the logic behind a bill introduced this year in the California state Assembly, known as the California Digital Content Provenance Standards , which would require generative AI providers to make their AI-generated content detectable, along with requiring providers to label generative AI and remove deceptive content. OpenAI is in favor of the bill — not surprisingly, as they’re the only generative AI provider known to have a system that does this. Their rivals are mostly opposed.

I’m broadly in favor of some kind of watermarking requirements for generative AI content. AI can be incredibly useful , but its productive uses don’t require it to pretend to be human-created. And while I don’t think it’s the place of government to ban newspapers from replacing us journalists with AI, I certainly don’t want outlets to misinform readers about whether the content they’re reading was created by real humans .

Though I’d like some kind of watermarking obligation, I am not sure it’s possible to implement. The best of the “open” AI models that have been released (like the latest Llama), models that you can run yourself on your own computer, are very high quality — certainly good enough for student essays. They’re already out there, and there’s no way to go back and add watermarking to them because anyone can run the current versions, whatever updates are applied in future versions. (This is among the many ways I have complicated feelings about open models. They enable an enormous amount of creativity, research, and discovery — and they also make it impossible to do all kinds of common-sense anti-impersonation or anti-child sexual abuse material measures that we otherwise might really like to have.)

So even though watermarking is possible, I don’t think we can count on it, which means we’ll have to figure out how to address the ubiquity of easy, AI-generated content as a society. Teachers are already switching to in-class essay requirements and other approaches to cut down on student cheating. We’re likely to see a switch away from college admissions essays as well — and, honestly, it’ll be good riddance, as those were probably never a good way to select students .

But while I won’t mourn much over the college admissions essay, and while I think teachers are very much capable of finding better ways to assess students, I do notice some troubling trends in the whole saga. There was a simple way to let us harness the benefits of AI without obvious downsides like impersonation and plagiarism, yet AI development happened so fast that society more or less just let the opportunity pass us by. Individual labs could do it, but they won’t because it’d put them at a competitive disadvantage — and there isn’t likely to be a good way to make everyone do it.

In the school plagiarism debate, the stakes are low. But the same dynamic reflected in the AI watermarking debate — where commercial incentives stop companies from self-regulating and the pace of change stops external regulators from stepping in until it’s too late — seems likely to remain as the stakes get higher.

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What It’s Like to Respond to Mpox in Africa Right Now

I t was early morning in Burundi when one of our patients set out for the hospital, her baby strapped to her back and her sick four-year-old son cradled in her arms. When her little boy’s itchy sores started to weep and he would not stop crying, she knew she had to get him there as quickly as possible. They trekked for miles up a dusty red path, passing palm groves and rice fields as they made their way. When she finally arrived, the doctors told her they’d have to move her son to a separate building. “He has mpox,” they said.

Scenes like this are playing out daily all over Burundi—and in other Central African countries—as thousands of people are falling sick with a new strain of mpox that is ravaging the region. On Aug. 14, 2024, the World Health Organization (WHO) declared that the multiple mpox outbreaks occurring on the African continent were a Public Health Emergency of International Concern. Although mpox has been around for decades, a new strain known as clade Ib has led to thousands of infections and hundreds of deaths in countries such as the Democratic Republic of Congo (DRC), Burundi, Rwanda, and the Central African Republic.

The WHO declaration was meant to spur an international response. But what has this looked like on the ground? As doctors who have treated dozens of mpox patients in Burundi over the past four weeks, take it from us: the response has been passive at best. People are in desperate need of both medical care and basic resources.

Read More : What to Know About Mpox in 2024

The limited funding is largely being directed toward improving mpox diagnosis and surveillance. Almost nothing is left over to care for the sick or prevent the continued spread of mpox in communities most at risk. This is especially heartbreaking since this outbreak seems to preferentially strike vulnerable groups, including women, children, people with HIV, and those who face food insecurity. This gap in mpox prevention and care is especially acute in countries like Burundi, where the health system is already strained after decades of civil war and where diseases like cholera, measles, malaria, and malnutrition are all too common.

One of our other patients came to the hospital with her newborn whom she was breastfeeding. She had walked for hours to reach us, seeking help for the numerous painful lesions that now covered most of her skin. She was diagnosed with mpox, and we recommended that she stop breastfeeding to avoid the skin-to-skin contact by which mpox spreads. Having no other way to nourish her child, she became distraught at being asked to choose between the baby going hungry or the baby developing mpox. There were no vaccines to protect the baby and no other resources available to provide a safe feeding alternative for this family.

Read More : It’s Time to Start Taking Mpox and Bird Flu Seriously

This lack of care-focused resources for people with mpox is not a failure of science. Mpox is not a new disease, and there are vaccines and medications that can greatly alter its course. But these tools are not available in the hospitals and health centers that are tasked with caring for a growing number of people with mpox every day. A scant 250,000 courses of the only effective vaccine have been earmarked for DRC, when tens of millions of doses are actually needed to curb mpox’s spread. And smaller counties like Burundi have no access at all. By contrast, when one patient with the clade Ib strain was diagnosed in Sweden, the European Centers for Disease Control decided to recommend that travelers to Africa now consult their physicians about receiving shots.

Governments in the region are trying valiantly to respond to the mpox crisis. In Burundi, the government has developed a comprehensive national plan for managing mpox. But they should not have to shoulder the burden alone—and these regions desperately need partners who can immediately step up and provide:

• Dignified services to those already sick with mpox, including care in the community for people who are stable and at the hospital for those who have severe disease or who are at high risk for it. Such care would include access to proven strategies for decreasing the sickness and suffering associated with mpox, such as antivirals, antibiotics, and anti-inflammatory eye drops to prevent the blindness sometimes seen when mpox affects the eye. It would also address the socioeconomic needs of families: hunger, housing, childcare, and management of common comorbidities, including HIV.
• Localized, preventive care . This works best when it originates within the community and could include adapting standard health-education messaging so that it is relevant for those most at risk. Epidemics exploit fractures in society and can escalate pre-existing tensions. Mpox mitigation measures should be paired with activities meant to foster collaboration and address other community needs.
• Immediate vaccination in places where the epidemic is concentrated. Because most impacted regions face challenges with overcrowding and limited access to water, other preventive measures will be less effective. Releasing existing vaccines for use in Central Africa and making sure they can be imported, stored, and administered safely should be a priority.
• Investment in strengthening health systems , since infectious diseases will always prey upon people whose health is most precarious. Instead of providing the bare minimum necessary to respond to mpox, donors should see this outbreak as a call for backing solid and lasting investments in building resilient health systems.

Models of mpox care that embrace these pillars have been developed in countries like Burundi. When the first patients with mpox began appearing in the rural areas, our team at Village Health Works—an organization founded by a Burundian to provide high-quality health care to those with limited access—launched a holistic response program called Halting the Mpox Outbreak with Equity (HOME). We stand ready to support the government regionally and nationally but need to mobilize resources to do so effectively.

There is a global sense of fatigue when it comes to outbreaks, and mpox is no exception. What is happening to families in Central Africa can seem very far away. People reaching for their smartphones or laptops to Google where countries like Burundi are located should realize, however, that they already have a connection to Central Africa. The minerals that power these technologies have been extracted from the area by companies that have reaped billions of dollars in profit. Very little of this capital has been reinvested for the betterment of people living there.

The weak mpox response on the ground shows that governments and their international collaborations are impotent in the face of an outbreak like this. And really, it shouldn’t just be their responsibility: companies that get rich by taking materials out of this region of the world should have to reinvest in building sustainable health systems.

We are used to hearing the word “outbreak” in conjunction with the spread of an infectious disease. But an alternative meaning of the term is “a sudden increase in activity.” We urgently need an outbreak of solidarity and resource mobilization to end mpox in Central Africa.

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The Spinoff

Essay Today at 5.00am

The spinoff essay: an ode to tea, the universal panacea.

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Skimmed Alive, Earl Gravy or Peanut Safari, there’s nothing like making someone a cup of tea exactly how they like it.

The Spinoff Essay  showcases the best essayists in Aotearoa, on topics big and small. Made possible by the generous support of our members.

‘C orrie climax sparks power surge .’ That was the headline splashed across the Guardian in 2003. After a high-tension wire season finale of Coronation Street into which 20 million viewers were tuned, a massive electricity surge was sparked across Britain as viewers sought to soothe their frayed nerves with a calming cup of tea. 

The surge measured 1,200 megawatts, which the National Grid reckoned was the equivalent of around 450,000 kettles being switched on simultaneously. 

“Tea is the universal panacea,” my dear friend Zoe used to say. Our friendship was built around talking about the boys we liked, the music we were listening to, and the gigs we wanted to go to, over endless cups of tea. The way we took our tea uncannily matched the colour of the inside of each of our wrists. Have you ever seen the H.M. British Tea Colour Chart? It’s intended as a comic visual aid to assist with the correct preparation of the perfect cup of tea. According to the chart, Zoe is Strip Teas and I am Nigerian Sunset. 

The weakest, almost inappropriately translucent tea colour on the chart is called Skimmed Alive. It looks like some kind of fresh milky hell. When I worked at Unity Books in Wellington, every Sunday we took turns making the morning tea. The manager was a Skimmed Alive. And while it pained me, I took pride in knowing how to make it exactly how he liked it. Bag in, bag swiftly out; merely a rumour of tea in the cup. Making a cup of tea for someone just how they like it is such a satisfying, almost intimate act. It shows you’ve paid attention. 

There’s a six-minute video on YouTube which compiles clips from the many films by Mike Leigh, the supreme director of kitchen sink films, where tea is referenced. From 1988’s High Hopes to 2019’s Another Year, the offer of a cup of tea serves as a moment of relief from awkward silences when the right words can’t be found. In 1997’s Career Girls, it even serves as a motif for class, Leigh’s social realist specialty. When Hannah and Annie, two friends from university, reunite after six years, Annie finds that Hannah has transformed from a scuzzy punk to a powersuited success story. The first thing Hannah does when Annie visits her apartment is put the kettle on in her pristine kitchen, showing off a dazzling array of herbal teas.

I was brand loyal, until I wasn’t. A friend recently made us a pot of tea. A really good brew. But it wasn’t Dilmah, it was Yorkshire Tea. The illustration on the box depicts a pastoral scene of very English-looking gentlemen playing cricket on a quaint farm. The tagline says, “Let’s have a proper brew.” I pondered this. What exactly do they mean by “proper”? Are they implying Dilmah isn’t proper? By proper, do they mean, “none of that foreign muck?” Is Yorkshire Tea nationalistic, racist tea?

I purchased my first box of Yorkshire Tea soon after that. Just the standard red label. Then at the supermarket I saw the burgundy label Proper Strong. When I eventually discovered the Yorkshire Gold Tea, their premium brew, it felt like I was chasing the dragon. There was no turning back after that.

A group of friends and I recently went to high tea at the historic Kate Sheppard House in upper-crust Ilam, Christchurch. Jac’s mum was visiting from Scotland and loves a good brew. As we went to sip from fine bone china, somebody said, “ooh, put your pinky out when you drink from a teacup!” The common preconception being that to poke your pinky out while drinking tea makes one look regal. But legend has it the act of doing so goes back to the French court in the 17th century and was a discreet way of indicating to potential suitors that you had syphilis. While it makes a good story, this is far-fetched. The act is likely nothing more than elitist.

I grew up in a household of serious tea drinkers. Since I was a toddler, every morning has started with a strong, milky cup of tea with two sugars. And at night, after watching Murder, She Wrote with Mum, we’d cap off the day with a cup of tea before bed. We initially drank our tea out of Crown Lynn honey-glaze tea mugs. They matched the decor in our house, everything in varying shades of brown, tan and beige. Those mugs are collectable now. But one day, dad came home with a big box of new Arcoroc tea mugs. Dad called them “tomorrow’s cups, today.” He reckoned the Crown Lynn mugs were old news and we had to make way for the future.

And he’s right. From the public servant staffrooms of Wellington and rugby clubrooms in South Auckland to my family home in Ngāruawāhia, the Arcoroc mug, made from one single transparent piece of instantly recognisable smoky glass, is a ubiquitous and egalitarian symbol of Kiwidom. My standard-four primary school teacher Mrs Hales was very cool. She was in her 20s and had previously been a hairdresser. She had a blonde fashion mullet and played the piano. I felt special because I used to stay behind after school on Wednesdays for one-on-one piano lessons with her. They were short-lived, because despite Dad buying me a Casio keyboard from the Farmers department store in Ngāruawāhia before it closed down, I didn’t practice. It wasn’t because I was lazy, it was because I couldn’t get my head around reading music. On the day of my last piano lesson, Mrs Hales handed me an empty Arcoroc mug and asked me to take it over to the staffroom. “What was in it?” I asked. “Tea,” she replied. While I was walking to the staffroom, I instinctively sniffed the mug. I smelled rum. I recognised the smell because my older sister used to buy 1.5 litre bottles of Coke, tip out half and fill the rest up with rum, walking around town with her glossy long black curls, feathery fringe, and Kate Bush eyeliner, swigging in broad daylight from the innocent-looking vessel. 

Years later, when I was helping pack up mum and dad’s house to get it ready for sale – sorting through 55 years worth of ephemera from an archive of sorrow – I soon learned they had kept everything. Every birthday and Christmas card ever sent to them, every single one of my childhood soft toys, dolls and books. And those honey-glaze mugs I thought about for years but assumed had been turfed out. I have them in my house now, at the back of the cupboard because they don’t match my calming sage green interiors. But I like knowing they’re there. 

On Sunday mornings when I was growing up, mum used to make her special Indian spiced tea which gently simmered in a saucepan on the stove. A warming combination of tea, milk, cinnamon, cloves, cardamom, black pepper and other spices, hers was the richest, most delicious chai I have ever tasted. You can buy chai tea bags in supermarkets now, and cafes serve a westernised (bland) version of it. But they all taste like a puddle that’s been heated up. 

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When my mother died, the aunties came back to our place after the funeral to serve afternoon tea. It was hard to believe that only hours before in the same sitting room, we had sat around her coffin to see her one last time. I remember how when the coffin lid was opened, everyone in the room gasped. She looked so beautiful. My other sister hadn’t liked the way the mortician had done mum’s makeup, so we tweaked it ourselves before they brought mum home for the final goodbye. She was wearing a silvery sari and exquisitely elaborate gold jewellery. Later, as we gathered around for afternoon tea, everything felt robotic, forced and silent. My dad said quietly, “this tea isn’t as good as your mum’s, eh?” He was right of course, but it didn’t matter. People had shown up for us. Simply making someone a cup of tea is the ultimate act of care.

Photo by Chris Steele-Perkins/Magnum

Make it awkward!

Rather than being a cringey personal failing, awkwardness is a collective rupture – and a chance to rewrite the social script.

by Alexandra Plakias   + BIO

A man knows he should speak up about the sexist behaviour of his coworkers, but doesn’t, because they’re his friends and he doesn’t want to make it awkward. A tenured professor is bothered by her colleague’s flirtatious remarks, but says nothing, because it would be awkward to bring it up. A person runs into a recently bereaved coworker, and wonders whether to address their loss, but doesn’t know what to say, so doesn’t mention it.

We often joke about awkwardness; it’s a staple of contemporary comedy. The exclamation ‘Awkward!’ functions as a light-hearted deflection, defusing social tension. The reality is heavier. Awkwardness can be funny, but it can also be serious – it inhibits our ability to act even when we know we should, and it can shut down or pre-empt conversations about important topics like menstruation, money, menopause, mortality. The desire to avoid awkwardness acts as a powerful social inhibition, preventing people from speaking up, and motivating compliance with problematic social and moral norms. So, which is it, then? Is awkwardness a funny, quirky, everyday occurrence, something we should learn to live with and even embrace? Is it a serious social inhibitor with negative implications for moral decision-making and social change? Or – in truly awkward fashion – might it be both?

It often seems that awkwardness is a personal problem. Indeed, one of the most surprising things I discovered while writing my book Awkwardness (2024) was just how many people self-identify as awkward – and how attached people become to this label. Movies and popular culture reinforce the idea of awkward people, typically portrayed as socially inept misfits who stick out and don’t fit in with trends or social norms. This focus on individuals suggests that the best way to avoid awkwardness is through silence and conformity – to imitate others, blend in, and say nothing.

But this is only part of the story, and it gets awkwardness wrong in important ways. Yes, awkwardness is caused by a failure to conform to existing social norms. But this failure isn’t individual and, rather than think in terms of awkward people, we ought to think in terms of awkward situations. And yes, awkwardness can be painful, and unpleasant. But it’s not embarrassing, and it’s nothing to be ashamed of. Contrary to popular belief, our awkward moments aren’t cringeworthy. Rather than cringing inwardly about them, we ought to examine them more closely. Because once we realise the true nature of awkwardness, we can stop seeing it as an individual failure and start seeing it as an opportunity for social change. In short: we should take awkwardness less personally, and more seriously.

W hat is awkwardness? This turns out to be a tricky question. Most of us know it when we see it (or experience it), but definitions are hard to come by. Partly that’s because empirical work on awkwardness tends to treat it as a type or symptom of embarrassment. But this is a mistake. Embarrassment happens when an individual commits a social gaffe; its characteristic facial and bodily expressions involve a kind of apology. Embarrassment is thus a kind of social repair. But awkwardness is different: it’s not something an individual causes, and it’s not something an individual can resolve on their own; it’s a social rupture. The failure involved in embarrassment is a failure to conform to existing norms. Awkwardness is different: it happens when we don’t have a social script to conform to. In other words, embarrassment happens when we violate socially prescribed scripts; awkwardness happens when we lack prescriptions to guide us.

People often feel like awkwardness is about them – that they are awkward, or not. But awkwardness is a collective production. More accurately, it’s a collective failure. Awkwardness is a kind of normative negative space, offering what Adam Kotsko calls ‘insight through breakdown’. It arises when people find themselves suddenly without a social script to guide them through an interaction or an event. The term ‘script’ carries associations of playacting, and that’s not a bad way to understand awkwardness. But the lesson of awkwardness is that, in the dramedy of life, we’re not just the actors, we’re the writers.

Is this a date, or a work dinner? When two people land on different answers: awkward!

The sociologist Erving Goffman recognised that social interaction is a kind of performance in which we occupy various roles. When a performance fails, the actor feels discredited – to use Goffman’s term, he loses ‘face’. Maybe he’s trying to play a role his audience won’t grant him (for example, a failed attempt to flirt, or a rejected marriage proposal) or he loses his composure and botches the performance. We usually perform one self at a time: our roles and our audiences are ‘ segregated ’, thereby preventing the kind of uncomfortable clash that can happen when, say, you run into your boss while out on a date, or have to talk about sex with your parents. But sometimes this clash is unavoidable, and things can get awkward. A character on the TV show My So-Called Life (1994-5) summed up the problem: ‘What I, like, dread is when people who know you in completely different ways end up in the same area. And you have to develop this, like, combination you on the spot.’

The ‘on the spot’ nature of social performance marks a disanalogy with theatre: unlike an actor memorising a script, the social scripts that guide everyday interactions are highly flexible and shift quickly, without explicit negotiation or reflection. A single person will play many roles in the course of a day, or even a single afternoon. In this sense, our interactions are more like social improvisation than scripted drama. And like improvisation, successful social interaction depends on a cooperative partner willing to go along with the scene.

The social cues by which we navigate the world range from the explicit – a dress code; the ‘no presents’ written on a party invitation – to the nearly imperceptible. Even where cues are explicit, there are often unspoken understandings in place: what counts as ‘black tie’ or ‘festive cocktail attire’? Is the request ‘no presents’ really to be taken literally, or is it merely a polite pretence that everyone will ignore? Slight changes in a conversational partner’s speech pattern; a gaze held just a little too long; a centimetre of physical distance – any of these can shift people’s understanding of the interaction taking place. Is this a date, or a work dinner? Are they about to hug, kiss or shake hands? When two people land on different answers: awkward!

A wkwardness thrives in uncertainty. This explains the link between awkwardness and silence: since silence can mean so many things, it makes it difficult to coordinate on and curate an interpretation of a situation. For example, is no one speaking up because no one else has a problem with the sexist comment someone just made? Or is everyone as uncomfortable as I am, but equally unsure how to act? Sometimes silence is acquiescence; other times, it’s a form of protest. In contrast to an explicitly voiced objection, the silence on an issue can be hard to read.

Indeed, awkwardness is fundamentally a kind of social disorientation. There’s a certain comfort in being able to socially situate oneself. That’s not to say that hierarchies are comfortable or beneficial for everyone – far from it. But even as social rejection and downranking hurt, there is a different kind of discomfort that comes along with being socially lost and disoriented, and this is the discomfort associated with awkwardness. This disorientation is built into the very etymology of the term: it derives from the Middle English ‘awk’, meaning ‘wrong’ or ‘clumsy’, and the English suffix ‘-ward’, denoting direction or orientation – yielding ‘facing the wrong way’. But just like passing someone on a road, facing the right way depends on knowing how things are done around here.

Awkwardness requires the presence of others: individuals aren’t awkward, interactions are

Knowing social scripts is one thing; truly internalising them is another. From the Italian sprezzatura to the French nonchalance to the Chinese concept of wu wei , various traditions have admired the ability ‘to practise in everything a certain nonchalance that shall conceal design and show that what is done and said is done without effort’, as the 16th-century Italian diplomat Baldassare Castiglione put it. By contrast, contemporary putdowns like ‘try-hard’ or ‘pick me’ show that it’s not enough to know the social script; its execution should look effortless.

This is one way awkwardness functions to distinguish insiders and outsiders. It’s also why we should be wary of labelling others ‘awkward’. This gets awkwardness wrong – it’s not a personality or character trait, but something that emerges from social interactions. Awkwardness requires the presence of others: individuals aren’t awkward, interactions are. This might seem surprising: people often describe themselves (or others) as ‘awkward’, and it seems that some people do have more difficulty navigating social interactions than others. But there are practical as well as theoretical reasons for resisting the idea that awkwardness is an individual trait. The label ‘awkward’ is not as innocuous as it seems: it’s ambiguous, and it obscures more than it reveals.

For example, suppose I describe my colleague Rob as ‘awkward at parties’. This is ambiguous: am I saying that he feels awkward at parties, or that he makes me feel awkward at parties? Or both? This ambiguity creates a dangerous space for bias or even ostracism: I may mistake my own discomfort at Rob’s presence for a property of Rob – projecting my own feelings of awkwardness on to him in a sort of pathetic fallacy. For example, suppose Rob is in a wheelchair, and I have little experience interacting with wheelchair users. I might feel some uncertainty about how to approach the situation, worrying about saying ‘the wrong thing’ or not knowing whether to stand or kneel while speaking with him. Using the term ‘awkward’ risks placing responsibility for my discomfort on to Rob. Not only is this fundamentally unfair, but it means that I’m less likely to try to remedy my ignorance – what arrangement would make Rob most comfortable? And since I’ve now classified Rob (in my own mind, if not to others) as ‘awkward’, I may be less likely to seek out interactions with him in the future. As the feminist scholar Sara Ahmed writes in The Promise of Happiness (2010): ‘To create awkwardness is to be read as being awkward. Maintaining public comfort requires that certain bodies “go along with it’’.’

W e can now begin to see how awkwardness becomes threatening, and how it can be weaponised, as Megan Garber has argued in The Atlantic . Because awkwardness is often aversive, those perceived as causing it risk ostracism. Changing social norms and rituals isn’t easy; adopting new ones can be costly. The person whose presence reveals the inadequacy of the status quo thus presents a threat. For example, in a department where the men routinely take clients to a strip club after dinner, or tell sexually explicit jokes in meetings, the presence of women colleagues might make things awkward, as they are forced to confront the clash between their workplace rituals and professional norms. One option would be to accept this conflict as of their own making, and adjust their behaviour accordingly. But too often, it’s the presence of the women that is blamed: now it’s awkward to tell those jokes, because there are women here. Blame falls on those perceived as different for ‘making’ things awkward. In many cases, though, it was awkward all along: that awkwardness was just being borne by someone else, as they tried to conform to others’ expectations.

Understood in these terms, awkwardness won’t necessarily become any less unpleasant to experience. But it’s worth paying more attention to when and where it arises, and be more willing to tackle it head-on. An unspoken expectation in many social interactions is that people already know how to navigate them. People avoid admitting social ignorance, and we are embarrassed by those who do, as if they’ve violated some unspoken social norm. But why should not knowing which pronoun, title or fork to use be any different from not knowing where the bathroom is, or what time the café opens? The reluctance to ask that social norms be made explicit reveals a deeper expectation: that social interaction should appear effortless. Awkwardness highlights the fact that our interactions are scripted. Its aversiveness shows the extent to which people prefer not to be reminded of this fact. And the lucky among us may not have to be.

We engage with physical infrastructure daily, often without thinking about it. That thoughtlessness is a privilege: when I walk into the lecture theatre and reach for the light switch, it’s more or less at arm’s reach, and I expect that to be the case in every room I walk into. Sometimes, the cord that pulls down the screen is a bit too high for me and I have to stand on a chair, and this is mildly annoying, embarrassing even. At that point I begin to feel irritated with the design of the room. I might wonder, who is it made for? Social scripts are like light switches and cords – we reach for them automatically, only really noticing their placement or existence when they’re not where we expect or need them to be. Of course, that’s not true for everyone. For many people, navigating the demands of daily life requires giving a good deal of thought to the placement of light switches, doorknobs and the like. For people who are neurodivergent, who struggle with reading facial cues, or who find themselves in unfamiliar social settings, the world is full of rooms with unpredictable, unreachable infrastructure. Awkwardness is a reminder that social infrastructure exists and that it is not equally accessible to everyone.

Because awkwardness is felt as a form of social discomfort, it doesn’t attach to everyone equally

The good news is that with effort and attention, social resources can be made more accessible. Awkwardness highlights where that work needs to happen. Understanding the social origins of awkwardness also helps reconceptualise it. Instead of thinking about it as a personal failure – a cringeworthy source of personal embarrassment, or shame – it can be recognised for what it is: the result of collective ignorance or absence.

And this is where the trope of the awkward misfit does a disservice. When awkwardness is understood as an individual failure to fit in, the response is supposed to be: do better; conform; learn the script. But that’s not always possible. Nor is it always desirable. In some cases, those norms are not serving everyone – or anyone. For example, many job interviews now eschew small talk and follow-up questions, following a scripted formula in which candidates are all asked the same questions with no follow-ups. This may feel awkward, especially for interviewers used to casual chit-chat. But that same chit-chat might unfairly skew the process by emphasising considerations of ‘fit’ and disadvantaging candidates who have less in common with interviewers. Professors may feel awkward asking students to share their pronouns, but this takes the burden of awkwardness off the students who might otherwise have had to jump in and correct people’s assumptions.

The upshot is that awkwardness isn’t something an individual should, or even can, fix on their own. To view awkwardness as shameful, or embarrassing, is therefore not just a philosophical mistake but a practical one: it is to miss out on an opportunity to repair the social infrastructure. Take the case of pronouns again: someone who finds it awkward to state their pronouns, but understands this awkwardness in terms of shame, might see the problem as stemming from a lack of courage or assertiveness, and feel bad about their failure to speak up. This puts the burden on them, going into new social or professional situations, to summon up the courage to change how they introduce themselves, which can make new interactions a source of stress or anxiety. If we understand awkwardness in terms of social scripts, things are different: the person might work with friends or colleagues to think about ways to build pronouns into introductions, or emails, or the structure of meetings.

But it’s important, too, to be mindful of who’s doing this work. Because awkwardness is felt as a form of social discomfort, it doesn’t attach to everyone equally. Social expectations of who does the work to make others feel comfortable – and correspondingly, who is held accountable when people feel uncomfortable – intersect with scripts around gender and social status. Women are often tasked with managing others’ moods and are expected to get along with others; this ‘emotional labour’ includes the work of repairing social interactions that become awkward. There’s a privilege in not worrying about others’ discomfort.

All of this might seem like a lot to put on a minor, everyday irritation. If we’re used to thinking of awkwardness as the kind of thing that crops up on bad dates, or a minor annoyance of office life, then what I’ve been saying so far might seem a bit overblown. Doesn’t everyone have awkward moments, and is it really such a big deal? The answer is that some of us have more awkward moments than others. And some awkward moments are a big deal: it matters that we have social scripts to talk about grief, or harassment, or race, because not talking about these topics erases an important part of people’s experiences. The silence associated with awkwardness can function to erase important parts of people’s experiences. But if we listen to it carefully, it can also tell us where more work is needed. The work of building our social infrastructure often goes unremarked upon. Awkwardness alerts us to the fact that our social norms are under construction. It’s an opportunity to examine the work that goes into our social lives, and why that work so often remains invisible.

In the drama of life, we don’t have to settle for being actors – we can be writers, too. Not everyone can afford to do this work. Not everyone’s contributions receive equal credit. But for those of us willing and able, awkward moments are an alert that our current social scripts are not working, and an opportunity to get to work writing better ones.

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Guest Essay

The Joy of Other People’s Children

By Glynnis MacNicol

Ms. MacNicol is a writer, a podcast host and the author of the memoir “I’m Mostly Here to Enjoy Myself.”

Recently, a book tour gave me the opportunity to travel around America. Budgets being what they are, I primarily chose cities where I had friends who would happily provide me with places to stay. These were homes, almost without exception, filled with children. I have no children of my own, and this felt like a serendipitous chance to catch up with many of the kids in my life.

In America, there is a persistent, pernicious belief that the only way to be invested in a child’s life is to be a parent — and, for women, to give birth to that child. (Ella and Cole Emhoff, among others, would like a word.) In a country that offers so little support to parents, this often feels like a not-so-covert argument for taking women back to a time when they lacked control over their bodies and their finances.

Recently, the Pew Research Center reported that 64 percent of women under 50 who don’t have children say they “just don’t want to.” This has contributed to another round of hand-wringing about birthrates and childless cat ladies . What the seemingly inexhaustible discussion around this topic leaves out is that many people who say they don’t want to birth or parent children do have children in their lives — other people’s. We rarely account for that, nor do we give full weight to the fulfillment these relationships provide.

Which is not entirely surprising. So often we hear about the annoyance of other people’s children — babies crying on planes, kids fussing at restaurants. Rarely do we talk about the pleasure of these little people, or how transformative it is to have children in your life whom you’re not raising.

I’ve been reminded of the joys of these relationships this summer. Most of the kids in my life, I have known since birth. In more than a few cases, I was present at the discovery that there was a child to be expected. Or I was the person on call to wait with a child while her sibling made an entrance. Many are children I have cared for in various stages of their life: I’ve changed countless diapers and dispensed endless bottles; I’ve given baths; I’ve been the emergency pickup contact at school. Several of these kids have vomited on me. I’m in a number of wills as the person these children will come to if, God forbid, something happens to their parents. For some, all of the above apply.

Since June, I’ve spent time variously spooning avocado into a toddler’s mouth and answering questions about what it’s like to get your period. I’ve been taught new card games. I balanced myself in the surf as a 6-year-old clung to me screaming with joy, trusting me not to let go. I attended a children’s performance of “The Little Mermaid” starring one 9-year-old who, as a 9-week-old, I held in my arms while I did an interview for my first book. Summer concluded with my driving a bunch of teens and preteens to one of their many sporting events while I cajoled them to look up from their phones once in a while and talk to me.

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indian knoll (3000–2000 b.c.), indian textiles: trade and production, indigenous arts of the caribbean, industrialization and conflict in america: 1840–1875, the industrialization of french photography after 1860, inland niger delta, intellectual pursuits of the hellenistic age, intentional alterations of early netherlandish painting, interior design in england, 1600–1800, interiors imagined: folding screens, garments, and clothing stands, international pictorialism, internationalism in the tang dynasty (618–907), introduction to prehistoric art, 20,000–8000 b.c., the isin-larsa and old babylonian periods (2004–1595 b.c.), islamic arms and armor, islamic art and culture: the venetian perspective, islamic art of the deccan, islamic carpets in european paintings, italian painting of the later middle ages, italian porcelain in the eighteenth century, italian renaissance frames, ivory and boxwood carvings, 1450–1800, ivory carving in the gothic era, thirteenth–fifteenth centuries, jacopo 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john constable (1776–1837), john frederick kensett (1816–1872), john singer sargent (1856–1925), john singleton copley (1738–1815), john townsend (1733–1809), jōmon culture (ca. 10,500–ca. 300 b.c.), joseon buncheong ware: between celadon and porcelain, joseph mallord william turner (1775–1851), juan de flandes (active by 1496, died 1519), julia margaret cameron (1815–1879), the julio-claudian dynasty (27 b.c.–68 a.d.), kamakura and nanbokucho periods (1185–1392), the kano school of painting, kingdoms of madagascar: malagasy funerary arts, kingdoms of madagascar: malagasy textile arts, kingdoms of madagascar: maroserana and merina, kingdoms of the savanna: the kuba kingdom, kingdoms of the savanna: the luba and lunda empires, kings and queens of egypt, kings of brightness in japanese esoteric buddhist art, the kirtlington park room, oxfordshire, the kithara in ancient greece, kodak and the rise of amateur photography, kofun period (ca. 300–710), kongo ivories, korean buddhist sculpture (5th–9th century), korean munbangdo paintings, kushan empire (ca. second century b.c.–third century a.d.), la venta: sacred architecture, la venta: stone sculpture, the labors of herakles, lacquerware of east asia, landscape painting in chinese art, landscape painting in the netherlands, the lansdowne dining room, london, lapita pottery (ca. 1500–500 b.c.), lascaux (ca. 15,000 b.c.), late eighteenth-century american drawings, late medieval german sculpture, late medieval german sculpture: images for the cult and for private devotion, late medieval german sculpture: materials and techniques, late medieval german sculpture: polychromy and monochromy, the later ottomans and the impact of europe, le colis de trianon-versailles and paris openings, the legacy of genghis khan, the legacy of jacques louis david (1748–1825), leonardo da vinci (1452–1519), letterforms and writing in contemporary art, life of jesus of nazareth, life of the buddha, list of rulers of ancient egypt and nubia, list of rulers of ancient sudan, list of rulers of byzantium, list of rulers of china, list of rulers of europe, list of rulers of japan, list of rulers of korea, list of rulers of mesopotamia, list of rulers of south asia, list of rulers of the ancient greek world, list of rulers of the islamic world, list of rulers of the parthian empire, list of rulers of the roman empire, list of rulers of the sasanian empire, lithography in the nineteenth century, longevity in chinese art, louis comfort tiffany (1848–1933), louis-rémy robert (1810–1882), lovers in italian mythological prints, the lure of montmartre, 1880–1900, luxury arts of rome, lydenburg heads (ca. 500 a.d.), lydia and phrygia, made in india, found in egypt: red sea textile trade in the thirteenth and fourteenth centuries, made in italy: italian fashion from 1950 to now, the magic of signs and patterns in north african art, maiolica in the renaissance, mal’ta (ca. 20,000 b.c.), mangarevan sculpture, the manila galleon trade (1565–1815), mannerism: bronzino (1503–1572) and his contemporaries, the mantiq al-tair (language of the birds) of 1487, manuscript illumination in italy, 1400–1600, manuscript illumination in northern europe, mapungubwe (ca. 1050–1270), marcel duchamp (1887–1968), maria monaci gallenga (1880–1944), mary stevenson cassatt (1844–1926), the master of monte oliveto (active about 1305–35), the materials and techniques of american quilts and coverlets, the materials and techniques of english embroidery of the late tudor and stuart eras, mauryan empire (ca. 323–185 b.c.), medicine in classical antiquity, medicine in the middle ages, medieval aquamanilia, medieval european sculpture for buildings, medusa in ancient greek art, mendicant orders in the medieval world, the mesoamerican ballgame, mesopotamian creation myths, mesopotamian deities, mesopotamian magic in the first millennium b.c., the metropolitan museum’s excavations at nishapur, the metropolitan museum’s excavations at ctesiphon, the metropolitan museum’s excavations at qasr-i abu nasr, michiel sweerts and biblical subjects in dutch art, the middle babylonian / kassite period (ca. 1595–1155 b.c.) in mesopotamia, military music in american and european traditions, ming dynasty (1368–1644), minoan crete, mission héliographique, 1851, miyake, kawakubo, and yamamoto: japanese fashion in the twentieth century, moche decorated ceramics, moche portrait vessels, modern and contemporary art in iran, modern art in india, modern art in west and east pakistan, modern art in west asia: colonial to post-colonial, modern materials: plastics, modern storytellers: romare bearden, jacob lawrence, faith ringgold, momoyama period (1573–1615), monasticism in western medieval europe, the mon-dvaravati tradition of early north-central thailand, the mongolian tent in the ilkhanid period, monte albán, monte albán: sacred architecture, monte albán: stone sculpture, monumental architecture of the aksumite empire, the monumental stelae of aksum (3rd–4th century), mosaic glass from islamic lands, mountain and water: korean landscape painting, 1400–1800, muromachi period (1392–1573), music and art of china, music in ancient greece, music in the ancient andes, music in the renaissance, musical instruments of oceania, musical instruments of the indian subcontinent, musical terms for the seventeenth and eighteenth centuries, mycenaean civilization, mystery cults in the greek and roman world, nabataean kingdom and petra, the nabis and decorative painting, nadar (1820–1910), the nahal mishmar treasure, nature in chinese culture, the nature of islamic art, the neoclassical temple, neoclassicism, neolithic period in china, nepalese painting, nepalese sculpture, netsuke: from fashion fobs to coveted collectibles, new caledonia, the new documentary tradition in photography, new ireland, new vision photography, a new visual language transmitted across asia, the new york dutch room, nicolas poussin (1594–1665), nineteenth-century american drawings, nineteenth-century american folk art, nineteenth-century american jewelry, nineteenth-century american silver, nineteenth-century classical music, nineteenth-century court arts in india, nineteenth-century english silver, nineteenth-century european textile production, nineteenth-century french realism, nineteenth-century iran: art and the advent of modernity, nineteenth-century iran: continuity and revivalism, nineteenth-century silhouette and support, nok terracottas (500 b.c.–200 a.d.), northern italian renaissance painting, northern mannerism in the early sixteenth century, northern song dynasty (960–1127), northwest coast indians musical instruments, the nude in baroque and later art, the nude in the middle ages and the renaissance, the nude in western art and its beginnings in antiquity, nudity and classical themes in byzantine art, nuptial furnishings in the italian renaissance, the old assyrian period (ca. 2000–1600 b.c.), orientalism in nineteenth-century art, orientalism: visions of the east in western dress, the origins of writing, ottonian art, pablo picasso (1881–1973), pachmari hills (ca. 9000–3000 b.c.), painted funerary monuments from hellenistic alexandria, painting formats in east asian art, painting in italian choir books, 1300–1500, painting in oil in the low countries and its spread to southern europe, painting the life of christ in medieval and renaissance italy, paintings of love and marriage in the italian renaissance, paolo veronese (1528–1588), the papacy and the vatican palace, the papacy during the renaissance, papyrus in ancient egypt, papyrus-making in egypt, the parthian empire (247 b.c.–224 a.d.), pastoral charms in the french renaissance, patronage at the early valois courts (1328–1461), patronage at the later valois courts (1461–1589), patronage of jean de berry (1340–1416), paul cézanne (1839–1906), paul gauguin (1848–1903), paul klee (1879–1940), paul poiret (1879–1944), paul revere, jr. (1734–1818), paul strand (1890–1976), period of the northern and southern dynasties (386–581), peter paul rubens (1577–1640) and anthony van dyck (1599–1641): paintings, peter paul rubens (1577–1640) and anthony van dyck (1599–1641): works on paper, petrus christus (active by 1444, died 1475/76), the phoenicians (1500–300 b.c.), photographers in egypt, photography and surrealism, photography and the civil war, 1861–65, photography at the bauhaus, photography in düsseldorf, photography in europe, 1945–60, photography in postwar america, 1945-60, photography in the expanded field: painting, performance, and the neo-avant-garde, photojournalism and the picture press in germany, phrygia, gordion, and king midas in the late eighth century b.c., the piano: the pianofortes of bartolomeo cristofori (1655–1731), the piano: viennese instruments, pictorialism in america, the pictures generation, pierre bonnard (1867–1947): the late interiors, pierre didot the elder (1761–1853), pieter bruegel the elder (ca. 1525–1569), pilgrimage in medieval europe, poetic allusions in the rajput and pahari painting of india, poets in italian mythological prints, poets, lovers, and heroes in italian mythological prints, polychrome sculpture in spanish america, polychromy of roman marble sculpture, popular religion: magical uses of imagery in byzantine art, portrait painting in england, 1600–1800, portraits of african leadership, portraits of african leadership: living rulers, portraits of african leadership: memorials, portraits of african leadership: royal ancestors, portraiture in renaissance and baroque europe, the portuguese in africa, 1415–1600, post-impressionism, postmodernism: recent developments in art in india, postmodernism: recent developments in art in pakistan and bangladesh, post-revolutionary america: 1800–1840, the postwar print renaissance in america, poverty point (2000–1000 b.c.), the praenestine cistae, prague during the rule of rudolf ii (1583–1612), prague, 1347–1437, pre-angkor traditions: the mekong delta and peninsular thailand, precisionism, prehistoric cypriot art and culture, prehistoric stone sculpture from new guinea, the pre-raphaelites, presidents of the united states of america, the print in the nineteenth century, the printed image in the west: aquatint, the printed image in the west: drypoint, the printed image in the west: engraving, the printed image in the west: etching, the printed image in the west: history and techniques, the printed image in the west: mezzotint, the printed image in the west: woodcut, printmaking in mexico, 1900–1950, private devotion in medieval christianity, profane love and erotic art in the italian renaissance, the pyramid complex of senwosret iii, dahshur, the pyramid complex of senwosret iii, dahshur: private tombs to the north, the pyramid complex of senwosret iii, dahshur: queens and princesses, the pyramid complex of senwosret iii, dahshur: temples, qin dynasty (221–206 b.c.), the qing dynasty (1644–1911): courtiers, officials, and professional artists, the qing dynasty (1644–1911): loyalists and individualists, the qing dynasty (1644–1911): painting, the qing dynasty (1644–1911): the traditionalists, the rag-dung, rare coins from nishapur, recognizing the gods, the rediscovery of classical antiquity, the reformation, relics and reliquaries in medieval christianity, religion and culture in north america, 1600–1700, the religious arts under the ilkhanids, the religious relationship between byzantium and the west, rembrandt (1606–1669): paintings, rembrandt van rijn (1606–1669): prints, renaissance drawings: material and function, renaissance keyboards, renaissance organs, renaissance velvet textiles, renaissance violins, retrospective styles in greek and roman sculpture, rinpa painting style, the rise of macedon and the conquests of alexander the great, the rise of modernity in south asia, the rise of paper photography in 1850s france, the rise of paper photography in italy, 1839–55, the rock-hewn churches of lalibela, roger fenton (1819–1869), the roman banquet, roman cameo glass, roman copies of greek statues, roman egypt, the roman empire (27 b.c.–393 a.d.), roman games: playing with animals, roman glass, roman gold-band glass, roman housing, roman inscriptions, roman luxury glass, roman mold-blown glass, roman mosaic and network glass, roman painting, roman portrait sculpture: republican through constantinian, roman portrait sculpture: the stylistic cycle, the roman republic, roman sarcophagi, roman stuccowork, romanesque art, romanticism, saint petersburg, saints and other sacred byzantine figures, saints in medieval christian art, the salon and the royal academy in the nineteenth century, san ethnography, sanford robinson gifford (1823–1880), the sasanian empire (224–651 a.d.), scenes of everyday life in ancient greece, scholar-officials of china, school of paris, seasonal imagery in japanese art, the seleucid empire (323–64 b.c.), senufo arts and poro initiation in northern côte d’ivoire, senufo sculpture from west africa: an influential exhibition at the museum of primitive art, new york, 1963, seventeenth-century european watches, the severan dynasty (193–235 a.d.), sèvres porcelain in the nineteenth century, shah ‘abbas and the arts of isfahan, the shah jahan album, the shahnama of shah tahmasp, shaker furniture, shakespeare and art, 1709–1922, shakespeare portrayed, shang and zhou dynasties: the bronze age of china, shoes in the costume institute, shōguns and art, shunga dynasty (ca. second–first century b.c.), sienese painting, silk textiles from safavid iran, 1501–1722, silks from ottoman turkey, silver in ancient egypt, sixteenth-century painting in emilia-romagna, sixteenth-century painting in lombardy, sixteenth-century painting in venice and the veneto, the solomon islands, south asian art and culture, southern italian vase painting, southern song dynasty (1127–1279), the spanish guitar, spiritual power in the arts of the toba batak, stained (luster-painted) glass from islamic lands, stained glass in medieval europe, still-life painting in northern europe, 1600–1800, still-life painting in southern europe, 1600–1800, the structure of photographic metaphors, students of benjamin west (1738–1820), the symposium in ancient greece, takht-i sulaiman and tilework in the ilkhanid period, talavera de puebla, tanagra figurines, tang dynasty (618–907), the technique of bronze statuary in ancient greece, techniques of decoration on arms and armor, telling time in ancient egypt, tenochtitlan, tenochtitlan: templo mayor, teotihuacan: mural painting, teotihuacan: pyramids of the sun and the moon, textile production in europe: embroidery, 1600–1800, textile production in europe: lace, 1600–1800, textile production in europe: printed, 1600–1800, textile production in europe: silk, 1600–1800, theater and amphitheater in the roman world, theater in ancient greece, theseus, hero of athens, thomas chippendale’s gentleman and cabinet-maker’s director, thomas cole (1801–1848), thomas eakins (1844–1916): painting, thomas eakins (1844–1916): photography, 1880s–90s, thomas hart benton’s america today mural, thomas sully (1783–1872) and queen victoria, tibetan arms and armor, tibetan buddhist art, tikal: sacred architecture, tikal: stone sculpture, time of day on painted athenian vases, tiraz: inscribed textiles from the early islamic period, titian (ca. 1485/90–1576), the tomb of wah, trade and commercial activity in the byzantine and early islamic middle east, trade and the spread of islam in africa, trade between arabia and the empires of rome and asia, trade between the romans and the empires of asia, trade relations among european and african nations, trade routes between europe and asia during antiquity, traditional chinese painting in the twentieth century, the transatlantic slave trade, the transformation of landscape painting in france, the trans-saharan gold trade (7th–14th century), turkmen jewelry, turquoise in ancient egypt, tutankhamun’s funeral, tutsi basketry, twentieth-century silhouette and support, the ubaid period (5500–4000 b.c.), ubirr (ca. 40,000–present), umberto boccioni (1882–1916), unfinished works in european art, ca. 1500–1900, ur: the royal graves, ur: the ziggurat, uruk: the first city, valdivia figurines, vegetal patterns in islamic art, velázquez (1599–1660), venetian color and florentine design, venice and the islamic world, 828–1797, venice and the islamic world: commercial exchange, diplomacy, and religious difference, venice in the eighteenth century, venice’s principal muslim trading partners: the mamluks, the ottomans, and the safavids, the vibrant role of mingqi in early chinese burials, the vikings (780–1100), vincent van gogh (1853–1890), vincent van gogh (1853–1890): the drawings, violin makers: nicolò amati (1596–1684) and antonio stradivari (1644–1737), visual culture of the atlantic world, vivienne westwood (born 1941) and the postmodern legacy of punk style, wadi kubbaniya (ca. 17,000–15,000 b.c.), walker evans (1903–1975), wang hui (1632–1717), warfare in ancient greece, watercolor painting in britain, 1750–1850, ways of recording african history, weddings in the italian renaissance, west asia: ancient legends, modern idioms, west asia: between tradition and modernity, west asia: postmodernism, the diaspora, and women artists, william blake (1757–1827), william henry fox talbot (1800–1877) and the invention of photography, william merritt chase (1849–1916), winslow homer (1836–1910), wisteria dining room, paris, women artists in nineteenth-century france, women china decorators, women in classical greece, women leaders in african history, 17th–19th century, women leaders in african history: ana nzinga, queen of ndongo, women leaders in african history: dona beatriz, kongo prophet, women leaders in african history: idia, first queen mother of benin, woodblock prints in the ukiyo-e style, woodcut book illustration in renaissance italy: florence in the 1490s, woodcut book illustration in renaissance italy: the first illustrated books, woodcut book illustration in renaissance italy: venice in the 1490s, woodcut book illustration in renaissance italy: venice in the sixteenth century, wordplay in twentieth-century prints, work and leisure: eighteenth-century genre painting in korea, x-ray style in arnhem land rock art, yamato-e painting, yangban: the cultural life of the joseon literati, yayoi culture (ca. 300 b.c.–300 a.d.), the year one, years leading to the iranian revolution, 1960–79, yuan dynasty (1271–1368), zen buddhism, 0 && essaysctrl.themev == 'departments / collections' && essaysctrl.deptv == null">, departments / collections '">.

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• The four main types of essay | Quick guide with examples

The Four Main Types of Essay | Quick Guide with Examples

Published on September 4, 2020 by Jack Caulfield . Revised on July 23, 2023.

An essay is a focused piece of writing designed to inform or persuade. There are many different types of essay, but they are often defined in four categories: argumentative, expository, narrative, and descriptive essays.

Argumentative and expository essays are focused on conveying information and making clear points, while narrative and descriptive essays are about exercising creativity and writing in an interesting way. At university level, argumentative essays are the most common type. 

In high school and college, you will also often have to write textual analysis essays, which test your skills in close reading and interpretation.

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Table of contents

Argumentative essays, expository essays, narrative essays, descriptive essays, textual analysis essays, other interesting articles, frequently asked questions about types of essays.

An argumentative essay presents an extended, evidence-based argument. It requires a strong thesis statement —a clearly defined stance on your topic. Your aim is to convince the reader of your thesis using evidence (such as quotations ) and analysis.

Argumentative essays test your ability to research and present your own position on a topic. This is the most common type of essay at college level—most papers you write will involve some kind of argumentation.

The essay is divided into an introduction, body, and conclusion:

• The introduction provides your topic and thesis statement
• The body presents your evidence and arguments
• The conclusion summarizes your argument and emphasizes its importance

The example below is a paragraph from the body of an argumentative essay about the effects of the internet on education. Mouse over it to learn more.

A common frustration for teachers is students’ use of Wikipedia as a source in their writing. Its prevalence among students is not exaggerated; a survey found that the vast majority of the students surveyed used Wikipedia (Head & Eisenberg, 2010). An article in The Guardian stresses a common objection to its use: “a reliance on Wikipedia can discourage students from engaging with genuine academic writing” (Coomer, 2013). Teachers are clearly not mistaken in viewing Wikipedia usage as ubiquitous among their students; but the claim that it discourages engagement with academic sources requires further investigation. This point is treated as self-evident by many teachers, but Wikipedia itself explicitly encourages students to look into other sources. Its articles often provide references to academic publications and include warning notes where citations are missing; the site’s own guidelines for research make clear that it should be used as a starting point, emphasizing that users should always “read the references and check whether they really do support what the article says” (“Wikipedia:Researching with Wikipedia,” 2020). Indeed, for many students, Wikipedia is their first encounter with the concepts of citation and referencing. The use of Wikipedia therefore has a positive side that merits deeper consideration than it often receives.

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An expository essay provides a clear, focused explanation of a topic. It doesn’t require an original argument, just a balanced and well-organized view of the topic.

Expository essays test your familiarity with a topic and your ability to organize and convey information. They are commonly assigned at high school or in exam questions at college level.

The introduction of an expository essay states your topic and provides some general background, the body presents the details, and the conclusion summarizes the information presented.

A typical body paragraph from an expository essay about the invention of the printing press is shown below. Mouse over it to learn more.

The invention of the printing press in 1440 changed this situation dramatically. Johannes Gutenberg, who had worked as a goldsmith, used his knowledge of metals in the design of the press. He made his type from an alloy of lead, tin, and antimony, whose durability allowed for the reliable production of high-quality books. This new technology allowed texts to be reproduced and disseminated on a much larger scale than was previously possible. The Gutenberg Bible appeared in the 1450s, and a large number of printing presses sprang up across the continent in the following decades. Gutenberg’s invention rapidly transformed cultural production in Europe; among other things, it would lead to the Protestant Reformation.

A narrative essay is one that tells a story. This is usually a story about a personal experience you had, but it may also be an imaginative exploration of something you have not experienced.

Narrative essays test your ability to build up a narrative in an engaging, well-structured way. They are much more personal and creative than other kinds of academic writing . Writing a personal statement for an application requires the same skills as a narrative essay.

A narrative essay isn’t strictly divided into introduction, body, and conclusion, but it should still begin by setting up the narrative and finish by expressing the point of the story—what you learned from your experience, or why it made an impression on you.

Mouse over the example below, a short narrative essay responding to the prompt “Write about an experience where you learned something about yourself,” to explore its structure.

Since elementary school, I have always favored subjects like science and math over the humanities. My instinct was always to think of these subjects as more solid and serious than classes like English. If there was no right answer, I thought, why bother? But recently I had an experience that taught me my academic interests are more flexible than I had thought: I took my first philosophy class.

Before I entered the classroom, I was skeptical. I waited outside with the other students and wondered what exactly philosophy would involve—I really had no idea. I imagined something pretty abstract: long, stilted conversations pondering the meaning of life. But what I got was something quite different.

A young man in jeans, Mr. Jones—“but you can call me Rob”—was far from the white-haired, buttoned-up old man I had half-expected. And rather than pulling us into pedantic arguments about obscure philosophical points, Rob engaged us on our level. To talk free will, we looked at our own choices. To talk ethics, we looked at dilemmas we had faced ourselves. By the end of class, I’d discovered that questions with no right answer can turn out to be the most interesting ones.

The experience has taught me to look at things a little more “philosophically”—and not just because it was a philosophy class! I learned that if I let go of my preconceptions, I can actually get a lot out of subjects I was previously dismissive of. The class taught me—in more ways than one—to look at things with an open mind.

A descriptive essay provides a detailed sensory description of something. Like narrative essays, they allow you to be more creative than most academic writing, but they are more tightly focused than narrative essays. You might describe a specific place or object, rather than telling a whole story.

Descriptive essays test your ability to use language creatively, making striking word choices to convey a memorable picture of what you’re describing.

A descriptive essay can be quite loosely structured, though it should usually begin by introducing the object of your description and end by drawing an overall picture of it. The important thing is to use careful word choices and figurative language to create an original description of your object.

Mouse over the example below, a response to the prompt “Describe a place you love to spend time in,” to learn more about descriptive essays.

On Sunday afternoons I like to spend my time in the garden behind my house. The garden is narrow but long, a corridor of green extending from the back of the house, and I sit on a lawn chair at the far end to read and relax. I am in my small peaceful paradise: the shade of the tree, the feel of the grass on my feet, the gentle activity of the fish in the pond beside me.

My cat crosses the garden nimbly and leaps onto the fence to survey it from above. From his perch he can watch over his little kingdom and keep an eye on the neighbours. He does this until the barking of next door’s dog scares him from his post and he bolts for the cat flap to govern from the safety of the kitchen.

With that, I am left alone with the fish, whose whole world is the pond by my feet. The fish explore the pond every day as if for the first time, prodding and inspecting every stone. I sometimes feel the same about sitting here in the garden; I know the place better than anyone, but whenever I return I still feel compelled to pay attention to all its details and novelties—a new bird perched in the tree, the growth of the grass, and the movement of the insects it shelters…

Sitting out in the garden, I feel serene. I feel at home. And yet I always feel there is more to discover. The bounds of my garden may be small, but there is a whole world contained within it, and it is one I will never get tired of inhabiting.

Though every essay type tests your writing skills, some essays also test your ability to read carefully and critically. In a textual analysis essay, you don’t just present information on a topic, but closely analyze a text to explain how it achieves certain effects.

Rhetorical analysis

A rhetorical analysis looks at a persuasive text (e.g. a speech, an essay, a political cartoon) in terms of the rhetorical devices it uses, and evaluates their effectiveness.

The goal is not to state whether you agree with the author’s argument but to look at how they have constructed it.

The introduction of a rhetorical analysis presents the text, some background information, and your thesis statement; the body comprises the analysis itself; and the conclusion wraps up your analysis of the text, emphasizing its relevance to broader concerns.

The example below is from a rhetorical analysis of Martin Luther King Jr.’s “I Have a Dream” speech . Mouse over it to learn more.

King’s speech is infused with prophetic language throughout. Even before the famous “dream” part of the speech, King’s language consistently strikes a prophetic tone. He refers to the Lincoln Memorial as a “hallowed spot” and speaks of rising “from the dark and desolate valley of segregation” to “make justice a reality for all of God’s children.” The assumption of this prophetic voice constitutes the text’s strongest ethical appeal; after linking himself with political figures like Lincoln and the Founding Fathers, King’s ethos adopts a distinctly religious tone, recalling Biblical prophets and preachers of change from across history. This adds significant force to his words; standing before an audience of hundreds of thousands, he states not just what the future should be, but what it will be: “The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.” This warning is almost apocalyptic in tone, though it concludes with the positive image of the “bright day of justice.” The power of King’s rhetoric thus stems not only from the pathos of his vision of a brighter future, but from the ethos of the prophetic voice he adopts in expressing this vision.

Literary analysis

A literary analysis essay presents a close reading of a work of literature—e.g. a poem or novel—to explore the choices made by the author and how they help to convey the text’s theme. It is not simply a book report or a review, but an in-depth interpretation of the text.

Literary analysis looks at things like setting, characters, themes, and figurative language. The goal is to closely analyze what the author conveys and how.

The introduction of a literary analysis essay presents the text and background, and provides your thesis statement; the body consists of close readings of the text with quotations and analysis in support of your argument; and the conclusion emphasizes what your approach tells us about the text.

Mouse over the example below, the introduction to a literary analysis essay on Frankenstein , to learn more.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, protagonist Victor Frankenstein is a stable representation of the callous ambition of modern science throughout the novel. This essay, however, argues that far from providing a stable image of the character, Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as. This essay begins by exploring the positive portrayal of Frankenstein in the first volume, then moves on to the creature’s perception of him, and finally discusses the third volume’s narrative shift toward viewing Frankenstein as the creature views him.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

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At high school and in composition classes at university, you’ll often be told to write a specific type of essay , but you might also just be given prompts.

Look for keywords in these prompts that suggest a certain approach: The word “explain” suggests you should write an expository essay , while the word “describe” implies a descriptive essay . An argumentative essay might be prompted with the word “assess” or “argue.”

The vast majority of essays written at university are some sort of argumentative essay . Almost all academic writing involves building up an argument, though other types of essay might be assigned in composition classes.

Essays can present arguments about all kinds of different topics. For example:

• In a literary analysis essay, you might make an argument for a specific interpretation of a text
• In a history essay, you might present an argument for the importance of a particular event
• In a politics essay, you might argue for the validity of a certain political theory

An argumentative essay tends to be a longer essay involving independent research, and aims to make an original argument about a topic. Its thesis statement makes a contentious claim that must be supported in an objective, evidence-based way.

An expository essay also aims to be objective, but it doesn’t have to make an original argument. Rather, it aims to explain something (e.g., a process or idea) in a clear, concise way. Expository essays are often shorter assignments and rely less on research.

The key difference is that a narrative essay is designed to tell a complete story, while a descriptive essay is meant to convey an intense description of a particular place, object, or concept.

Narrative and descriptive essays both allow you to write more personally and creatively than other kinds of essays , and similar writing skills can apply to both.

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