how long should an essay about a book be

An Introduction to the Book-Length Essay

Rebecca Hussey

Rebecca holds a PhD in English and is a professor at Norwalk Community College in Connecticut. She teaches courses in composition, literature, and the arts. When she’s not reading or grading papers, she’s hanging out with her husband and son and/or riding her bike and/or buying books. She can't get enough of reading and writing about books, so she writes the bookish newsletter "Reading Indie," focusing on small press books and translations. Newsletter: Reading Indie Twitter: @ofbooksandbikes

View All posts by Rebecca Hussey

You might be wondering, “I didn’t think there was such a thing as the book-length essay! Aren’t essays short pieces, like the kind you wrote in school, or the kind they collect in the Best American Essays series? Aren’t they the nonfiction equivalent of the short story?” The answer is yes, and, of course, no. We do usually think of essays as short pieces that we read in magazines or online and that get gathered together into collections. But the essay as a genre is more expansive than that, and the book-length essay is, indeed, a thing that exists and that is a pleasure to read.

What Is a Book-Length Essay?

It’s easy to say that a book-length essay is simply an essay that goes on for a long time, enough to fit the usual length requirements of a standalone book. What is more complicated is distinguishing the book-length essay from other forms of nonfiction. The question becomes how this form is different from, say, memoir, biography, criticism, history, political science, or sociology.

The essay can incorporate some or all of these genres and more, but it is in itself fundamentally different. Essays, no matter their length, explore ideas, facts, and experiences, with an emphasis on explore . They are not definitive: they aren’t researched journalism or academic scholarship complete with explanatory footnotes. Instead, they attempt to look at problems, address questions, or analyze experiences. Emphasis on attempt !

Essayists write in order to discover what they think. An essay is then a record of a thought process. Part of the pleasure of reading them comes from following the writer’s thinking as it develops: we get to see the twists and turns of the writer’s mind as it works through a problem. Essays are looser than other genres, and weirder. They can flit from idea to idea and can incorporate literally anything. Upon first reading, they sometimes appear to be disorganized (although often an organizational system lies underneath). They can contradict themselves or show the writer changing their mind.

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The essay is a genre that is weirdly anti-genre. It doesn’t want to settle down and fit in anywhere; it refuses categories and rules. I think of essays as nonfiction, but there is even room for elements of fiction.

Book-length essays are the kind of books that make bookstore owners puzzle over where to shelve them, unless they have a section called “Literary Nonfiction” or similar. Sure, these books could go in the essay section, if there is one, but they could also fit in memoir, current events, cultural studies, art, music, philosophy, etc. They fit everywhere and nowhere. They are a delightfully expansive hybrid form.

Six Examples of the Book-Length Essay

Below are some examples of my favorite book-length essays. Check them out and discover some really great books and writers.

Time is the Thing the Body Moves Through by T Fleischmann

This book is personal, intellectual, challenging, and strange. It’s partly about the art of Félix González-Torres, especially a work called  “Untitled” (Placebo – Landscape – for Roni)  with its endless supply of candy in gold wrappers that viewers/participants can freely take. It’s also about being queer and trans, and about friendship, love, sex, and radical politics. Fleischmann interweaves narratives from different times to create a sense of movement and change; there’s a fluidity to the narrative which meanders while maintaining a sense of urgency.

The Face: A Time Code by Ruth Ozeki

This book is part of a series from Restless Books where authors write about their own faces. Ozeki decided to approach this task by spending three hours staring at her face in the mirror and writing about the experience. The three hours were, as it turns out, boring, but the resulting book is wonderful. Ozeki keeps track of the three hours minute by minute, following her thoughts as they wander throughout that time. Descriptions of her feelings about her face are the jumping off point for personal stories and thoughts.

On Immunity by Eula Biss

I wish I could make everyone read this book right now! On Immunity combines memoir, science, medicine, criticism, parenting, and cultural critique to explore what immunity means. Eula Biss examines people’s fear of vaccines and the origin and implications of that fear. She considers what our attitudes toward immunity can tell us about how we understand our selves and our place in community. It’s a short book that is wide-ranging, and, if more people read and pondered it, potentially revolutionary.

This Little Art by Kate Briggs

This Little Art is published by Fitzcarraldo Editions, which has a series of nonfiction books it simply calls “Essays.” Those who want to read more book-length essays will find that series a great resource. This volume examines the art of translation. Kate Briggs translates Roland Barthes, and she writes beautifully about her love for his work. She writes about theories of translation and the ways translation work is gendered. The book contemplates language and writing itself. It’s absorbing, thought-provoking, and gorgeously written.

In Other Words by Jhumpa Lahiri, Translated by Ann Goldstein

In Other Words explores and celebrates Jhumpa Lahiri’s love of the Italian language. This is her first book written in Italian after she moved to Italy to immerse herself in the language and culture. The book examines what it is like to learn a new language with all the accompanying frustrations and joys. Lahiri writes autobiographically, but the book expands into a meditation on language, writing, and what it’s like to think in entirely new ways.

Ongoingness: The End of a Diary by Sarah Manguso

Ongoingness takes up many subjects, including diaries, memory, parenting, and the practice of writing. Manguso kept a lengthy, detailed diary for many years, a text this book circles around but never quotes. Instead, she contemplates what the diary meant to her, why she kept it and why she stopped. She writes about the feelings of early motherhood and how her relationship to writing and memory changed. Manguso writes in short, meditative sections that are both autobiographical and philosophical.

Looking for more essays to read? Check out this list of 100 Must-Read Essay Collections . If you like genre-bending memoirs (which have a lot in common with the book-length essay), check out these recommendations .

You Might Also Like

How to Write an Essay Introduction (with Examples)   

The introduction of an essay plays a critical role in engaging the reader and providing contextual information about the topic. It sets the stage for the rest of the essay, establishes the tone and style, and motivates the reader to continue reading. 

Table of Contents

What is an essay introduction , what to include in an essay introduction, how to create an essay structure , step-by-step process for writing an essay introduction , how to write an essay introduction paragraph with paperpal – step -by -step, how to write a hook for your essay , how to include background information , how to write a thesis statement .

• Argumentative Essay Introduction Example: 
• Expository Essay Introduction Example 

Literary Analysis Essay Introduction Example

Check and revise – checklist for essay introduction , key takeaways , frequently asked questions .

An introduction is the opening section of an essay, paper, or other written work. It introduces the topic and provides background information, context, and an overview of what the reader can expect from the rest of the work. 1 The key is to be concise and to the point, providing enough information to engage the reader without delving into excessive detail. 

The essay introduction is crucial as it sets the tone for the entire piece and provides the reader with a roadmap of what to expect. Here are key elements to include in your essay introduction: 

• Hook : Start with an attention-grabbing statement or question to engage the reader. This could be a surprising fact, a relevant quote, or a compelling anecdote. 
• Background information : Provide context and background information to help the reader understand the topic. This can include historical information, definitions of key terms, or an overview of the current state of affairs related to your topic. 
• Thesis statement : Clearly state your main argument or position on the topic. Your thesis should be concise and specific, providing a clear direction for your essay. 

Before we get into how to write an essay introduction, we need to know how it is structured. The structure of an essay is crucial for organizing your thoughts and presenting them clearly and logically. It is divided as follows: 2  

• Introduction:  The introduction should grab the reader’s attention with a hook, provide context, and include a thesis statement that presents the main argument or purpose of the essay.  
• Body:  The body should consist of focused paragraphs that support your thesis statement using evidence and analysis. Each paragraph should concentrate on a single central idea or argument and provide evidence, examples, or analysis to back it up.  
• Conclusion:  The conclusion should summarize the main points and restate the thesis differently. End with a final statement that leaves a lasting impression on the reader. Avoid new information or arguments. 

Here’s a step-by-step guide on how to write an essay introduction: 

• Start with a Hook : Begin your introduction paragraph with an attention-grabbing statement, question, quote, or anecdote related to your topic. The hook should pique the reader’s interest and encourage them to continue reading. 
• Provide Background Information : This helps the reader understand the relevance and importance of the topic. 
• State Your Thesis Statement : The last sentence is the main argument or point of your essay. It should be clear, concise, and directly address the topic of your essay. 
• Preview the Main Points : This gives the reader an idea of what to expect and how you will support your thesis. 
• Keep it Concise and Clear : Avoid going into too much detail or including information not directly relevant to your topic. 
• Revise : Revise your introduction after you’ve written the rest of your essay to ensure it aligns with your final argument. 

Unsure of how to start your essay introduction? Leverage Paperpal’s Generative AI templates to provide a base for your essay introduction. Here’s an example of an essay outline generated by Paperpal.  

Use the generated essay outline as your base for the introduction. If you’re stuck writing, you can use Paperpal’s Predictive AI writing features to continue writing. 

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This is one of the key steps in how to write an essay introduction. Crafting a compelling hook is vital because it sets the tone for your entire essay and determines whether your readers will stay interested. A good hook draws the reader in and sets the stage for the rest of your essay.  

• Avoid Dry Fact : Instead of simply stating a bland fact, try to make it engaging and relevant to your topic. For example, if you’re writing about the benefits of exercise, you could start with a startling statistic like, “Did you know that regular exercise can increase your lifespan by up to seven years?” 
• Avoid Using a Dictionary Definition : While definitions can be informative, they’re not always the most captivating way to start an essay. Instead, try to use a quote, anecdote, or provocative question to pique the reader’s interest. For instance, if you’re writing about freedom, you could begin with a quote from a famous freedom fighter or philosopher. 
• Do Not Just State a Fact That the Reader Already Knows : This ties back to the first point—your hook should surprise or intrigue the reader. For Here’s an introduction paragraph example, if you’re writing about climate change, you could start with a thought-provoking statement like, “Despite overwhelming evidence, many people still refuse to believe in the reality of climate change.” 

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Including background information in the introduction section of your essay is important to provide context and establish the relevance of your topic. When writing the background information, you can follow these steps: 

• Start with a General Statement:  Begin with a general statement about the topic and gradually narrow it down to your specific focus. For example, when discussing the impact of social media, you can begin by making a broad statement about social media and its widespread use in today’s society, as follows: “Social media has become an integral part of modern life, with billions of users worldwide.” 
• Define Key Terms : Define any key terms or concepts that may be unfamiliar to your readers but are essential for understanding your argument. 
• Provide Relevant Statistics:  Use statistics or facts to highlight the significance of the issue you’re discussing. For instance, “According to a report by Statista, the number of social media users is expected to reach 4.41 billion by 2025.” 
• Discuss the Evolution:  Mention previous research or studies that have been conducted on the topic, especially those that are relevant to your argument. Mention key milestones or developments that have shaped its current impact. You can also outline some of the major effects of social media. For example, you can briefly describe how social media has evolved, including positives such as increased connectivity and issues like cyberbullying and privacy concerns. 
• Transition to Your Thesis:  Use the background information to lead into your thesis statement, which should clearly state the main argument or purpose of your essay. For example, “Given its pervasive influence, it is crucial to examine the impact of social media on mental health.” 

A thesis statement is a concise summary of the main point or claim of an essay, research paper, or other type of academic writing. It appears near the end of the introduction. Here’s how to write a thesis statement: 

• Identify the topic:  Start by identifying the topic of your essay. For example, if your essay is about the importance of exercise for overall health, your topic is “exercise.” 
• State your position:  Next, state your position or claim about the topic. This is the main argument or point you want to make. For example, if you believe that regular exercise is crucial for maintaining good health, your position could be: “Regular exercise is essential for maintaining good health.” 
• Support your position:  Provide a brief overview of the reasons or evidence that support your position. These will be the main points of your essay. For example, if you’re writing an essay about the importance of exercise, you could mention the physical health benefits, mental health benefits, and the role of exercise in disease prevention. 
• Make it specific:  Ensure your thesis statement clearly states what you will discuss in your essay. For example, instead of saying, “Exercise is good for you,” you could say, “Regular exercise, including cardiovascular and strength training, can improve overall health and reduce the risk of chronic diseases.” 

Examples of essay introduction 

Here are examples of essay introductions for different types of essays: 

Argumentative Essay Introduction Example:  

Topic: Should the voting age be lowered to 16? 

“The question of whether the voting age should be lowered to 16 has sparked nationwide debate. While some argue that 16-year-olds lack the requisite maturity and knowledge to make informed decisions, others argue that doing so would imbue young people with agency and give them a voice in shaping their future.” 

Expository Essay Introduction Example  

Topic: The benefits of regular exercise 

“In today’s fast-paced world, the importance of regular exercise cannot be overstated. From improving physical health to boosting mental well-being, the benefits of exercise are numerous and far-reaching. This essay will examine the various advantages of regular exercise and provide tips on incorporating it into your daily routine.” 

Text: “To Kill a Mockingbird” by Harper Lee 

“Harper Lee’s novel, ‘To Kill a Mockingbird,’ is a timeless classic that explores themes of racism, injustice, and morality in the American South. Through the eyes of young Scout Finch, the reader is taken on a journey that challenges societal norms and forces characters to confront their prejudices. This essay will analyze the novel’s use of symbolism, character development, and narrative structure to uncover its deeper meaning and relevance to contemporary society.” 

• Engaging and Relevant First Sentence : The opening sentence captures the reader’s attention and relates directly to the topic. 
• Background Information : Enough background information is introduced to provide context for the thesis statement. 
• Definition of Important Terms : Key terms or concepts that might be unfamiliar to the audience or are central to the argument are defined. 
• Clear Thesis Statement : The thesis statement presents the main point or argument of the essay. 
• Relevance to Main Body : Everything in the introduction directly relates to and sets up the discussion in the main body of the essay. 

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Writing a strong introduction is crucial for setting the tone and context of your essay. Here are the key takeaways for how to write essay introduction: 3  

• Hook the Reader : Start with an engaging hook to grab the reader’s attention. This could be a compelling question, a surprising fact, a relevant quote, or an anecdote. 
• Provide Background : Give a brief overview of the topic, setting the context and stage for the discussion. 
• Thesis Statement : State your thesis, which is the main argument or point of your essay. It should be concise, clear, and specific. 
• Preview the Structure : Outline the main points or arguments to help the reader understand the organization of your essay. 
• Keep it Concise : Avoid including unnecessary details or information not directly related to your thesis. 
• Revise and Edit : Revise your introduction to ensure clarity, coherence, and relevance. Check for grammar and spelling errors. 
• Seek Feedback : Get feedback from peers or instructors to improve your introduction further. 

The purpose of an essay introduction is to give an overview of the topic, context, and main ideas of the essay. It is meant to engage the reader, establish the tone for the rest of the essay, and introduce the thesis statement or central argument.  

An essay introduction typically ranges from 5-10% of the total word count. For example, in a 1,000-word essay, the introduction would be roughly 50-100 words. However, the length can vary depending on the complexity of the topic and the overall length of the essay.

An essay introduction is critical in engaging the reader and providing contextual information about the topic. To ensure its effectiveness, consider incorporating these key elements: a compelling hook, background information, a clear thesis statement, an outline of the essay’s scope, a smooth transition to the body, and optional signposting sentences.  

The process of writing an essay introduction is not necessarily straightforward, but there are several strategies that can be employed to achieve this end. When experiencing difficulty initiating the process, consider the following techniques: begin with an anecdote, a quotation, an image, a question, or a startling fact to pique the reader’s interest. It may also be helpful to consider the five W’s of journalism: who, what, when, where, why, and how.   For instance, an anecdotal opening could be structured as follows: “As I ascended the stage, momentarily blinded by the intense lights, I could sense the weight of a hundred eyes upon me, anticipating my next move. The topic of discussion was climate change, a subject I was passionate about, and it was my first public speaking event. Little did I know , that pivotal moment would not only alter my perspective but also chart my life’s course.” 

Crafting a compelling thesis statement for your introduction paragraph is crucial to grab your reader’s attention. To achieve this, avoid using overused phrases such as “In this paper, I will write about” or “I will focus on” as they lack originality. Instead, strive to engage your reader by substantiating your stance or proposition with a “so what” clause. While writing your thesis statement, aim to be precise, succinct, and clear in conveying your main argument.  

To create an effective essay introduction, ensure it is clear, engaging, relevant, and contains a concise thesis statement. It should transition smoothly into the essay and be long enough to cover necessary points but not become overwhelming. Seek feedback from peers or instructors to assess its effectiveness. 

References  

• Cui, L. (2022). Unit 6 Essay Introduction.  Building Academic Writing Skills . 
• West, H., Malcolm, G., Keywood, S., & Hill, J. (2019). Writing a successful essay.  Journal of Geography in Higher Education ,  43 (4), 609-617. 
• Beavers, M. E., Thoune, D. L., & McBeth, M. (2023). Bibliographic Essay: Reading, Researching, Teaching, and Writing with Hooks: A Queer Literacy Sponsorship. College English, 85(3), 230-242. 

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Related Reads:

• How to Write a Good Hook for Essays, with Examples
• What are Journal Guidelines on Using Generative AI Tools
• How to Use AI to Enhance Your College Essays and Thesis
• Powerful Academic Phrases to Improve Your Essay Writing 

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A Beginner's Guide to Writing a Book Report (with Examples)

Last Updated: June 25, 2024 Fact Checked

• Researching
• Drafting the Report
• Reviewing & Revising

Sample Book Reports & Summaries

Expert q&a.

This article was co-authored by Jake Adams and by wikiHow staff writer, Raven Minyard, BA . Jake Adams is an academic tutor and the owner of Simplifi EDU, a Santa Monica, California based online tutoring business offering learning resources and online tutors for academic subjects K-College, SAT & ACT prep, and college admissions applications. With over 14 years of professional tutoring experience, Jake is dedicated to providing his clients the very best online tutoring experience and access to a network of excellent undergraduate and graduate-level tutors from top colleges all over the nation. Jake holds a BS in International Business and Marketing from Pepperdine University. There are 8 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 1,425,047 times.

A book report is a short essay that summarizes and analyzes a work of fiction or nonfiction. Writing a book report may not seem fun at first, but it gives you a great chance to fully understand a work and its author. In this article, we’ll teach you everything you need to know about how to write a book report, from choosing a book and outlining to drafting and editing your final paper.

Things You Should Know

• Read the entire book and take notes on important themes, characters, and events. Use your notes to create an outline with evidence that supports your analysis.
• Include the title and author in your intro, then summarize the plot, main characters, and setting of the book.
• Analyze the author’s writing style, as well as the main themes and arguments of the book. Include quotes and examples to support your statements.

Researching Your Book Report

• For example, find out if your teacher wants you to include citations, such as page numbers from the book, in your report.
• Ask your teacher how much of your paper to devote to summary versus analysis. Most book reports are direct summaries with objective analysis rather than your personal opinions. In contrast, a book review or commentary is more opinion-driven.

• Some popular books for book reports include To Kill a Mockingbird by Harper Lee, Animal Farm by George Orwell, and The Hunger Games by Suzanne Collins. Choose a book at your grade level.

• Author: Who wrote the book? Do you know any other works by this author?
• Genre: Is the book fiction or nonfiction? If it’s fiction, is it historical, fantasy, horror, etc.? If it’s nonfiction, is it a biography, memoir, science, etc.?
• Audience: Who would find this book appealing? Is it intended for a specific age range or gender? Do you typically enjoy books like this?
• Title: Does the title catch your interest? Does it fit well with the book’s content?
• Book Cover/Illustrations: What does the book cover convey and does it accurately represent the book? How do you feel when you look at it? If the book has illustrations, what are they and do they hold your interest?

• Take breaks while reading to keep your attention sharp. Try to find a pace that is comfortable for you. If you get distracted after 15 minutes, read in 15-minute intervals. If you can go an hour, read for an hour at a time.
• Give yourself enough time to read the entire book. It’s very difficult to write a book report if you’ve just skimmed over everything. Don’t procrastinate!
• Don’t trust online book summaries. You can’t guarantee that they are accurate or true to the text.

• For example, look for a sentence that clearly describes a main setting in the book, such as “The castle was gloomy and made out of large black stones.”

Outlining Your Book Report

• Introduction: Introduce the title, author, and publication information. Include a brief overview of the book’s genre and main theme, and state your purpose for writing the report.
• Summary: Concisely summarize the plot or central idea, highlighting main events, characters, and conflicts. Focus on important aspects while avoiding spoilers.
• Analysis and Evaluation: Evaluate the author’s writing style and use of literary devices, like foreshadowing, metaphors, imagery, etc. Discuss the strengths and weaknesses of the book and use quotes and examples from the text.
• Themes and Messages: Identify the book’s main themes or messages and how they develop through the course of the book. Provide specific quotes and examples.
• Character Analysis: Analyze the main characters in the book, their development, and their relationships. Explain their motivations, personalities, and significance to the story. Provide examples and quotes to support your analysis.
• Personal Reflection: Depending on your teacher’s instructions, you might share your personal opinions and discuss what you liked and disliked about the book. Reflect on how the book relates to broader themes or issues.
• Conclusion: Summarize your main points and conclude with your final thoughts or reflections on the book.
• Bibliography: If required, include a works cited page or bibliography listing all the sources you used to write your book report.
• Outlining takes time, but it saves you more time once you reach the editing stage.
• Some people prefer to outline with pen and paper, while others just type up a list on the computer. Choose the method that works best for you.

• Be careful not to overuse quotes. If it seems like every other line is a quote, try to dial back. Aim to include a maximum of one quotation per paragraph. Quotes and examples should still take a backseat to your summary.

• For example, you’ll likely need to focus primarily on discussing the most important characters or the characters that appear most frequently in the text.
• When you are finished with your outline, go back through it to see if it makes sense. If the paragraphs don’t flow into one another, move them around or add/delete new ones until they do.
• Also, check to see if your outline covers all of the major elements of the book, such as the plot, characters, and setting.

Writing Your Book Report

• For example, a sentence summary might state, “This book is about the main character’s journey to Africa and what she learns on her travels.”
• Don’t take up too much space with your introduction. In general, an introduction should be 3-6 sentences long, though in rare cases, they may be longer or shorter.

• Use vivid language when you can and include plenty of details. For example, you might write, “The farm was surrounded by rolling hills.”

• For instance, if the main character moves to Africa, you might describe what happens before the move, how the move goes, and how they settle in once they arrive.

• For example, you might write that the main character is “a middle-aged woman who enjoys the finer things in life, such as designer clothes.” Then, connect this description to the plot summary by describing how her views change after her travels, if they do.
• Expect to introduce the characters in the same sentences and paragraphs as the plot introduction.

• You might write, “The author argues that travel gives you a new perspective. That is why her main characters all seem happier and more grounded after visiting new places.”
• For fiction, determine if the author is using the story to pass along a certain moral or lesson. For example, a book about an underdog athlete could encourage readers to take chances to pursue their dreams.

• For example, an author who uses lots of slang terms is probably going for a hip, approachable style.

• Some teachers require, or strongly suggest, that you include the author’s name and the book title in your concluding paragraph.
• When writing a conclusion , don’t introduce any new thoughts. Any important points should be made in your body paragraphs. Save the space for your recap.

Reviewing and Revising Your Book Report

• Before you submit your paper, make sure that you’ve spelled the author’s name and any character names correctly.
• Don’t trust your computer’s spell check to catch all the errors for you. Spell check can be helpful, but it isn’t perfect and can make mistakes.

• If you’re nervous about asking, try saying something like “It would be great if you could go over my book report and make sure that it reads smoothly.”
• Remember, no one’s first draft is perfect, so don’t get upset if someone suggests you do something differently. They want to help make your report the best it can be, so don’t take constructive criticism personally.

• For example, double-check that you are using the correct font, font size, and margins.
• Once you've finished proofreading, revising, and checking that you've addressed all the requirements, you're ready to submit your book report!

• Even though your book report is your own work, avoid using “I” too much. It can make your writing feel choppy. Thanks Helpful 0 Not Helpful 0
• It might be tempting to watch the movie or read the online notes instead of reading the book. Resist this urge! Your teacher will be able to tell the difference. Thanks Helpful 0 Not Helpful 0

Tips from our Readers

• Calm down and walk around if you get too frustrated while writing. If you write a book report while angry, you're more likely to misspell things!
• Choose a unique book. Harry Potter or Percy Jackson is an absolute no. Everyone chooses those. Try something different!
• Write when anything comes to mind! You don't want to lose your ideas!

• Give yourself plenty of time to write your report. Don’t wait until the last minute or you may feel rushed. Thanks Helpful 2 Not Helpful 0
• Stealing or using another person’s work is considered plagiarism and academic dishonesty. Make sure that the work you submit is all your own. Thanks Helpful 1 Not Helpful 0

You Might Also Like

• ↑ https://www.aresearchguide.com/write-book-report.html
• ↑ Jake Adams. Academic Tutor & Test Prep Specialist. Expert Interview. 24 July 2020.
• ↑ https://grammark.org/how-to-write-a-book-report/
• ↑ https://takelessons.com/blog/steps-to-writing-a-book-report
• ↑ https://www.infoplease.com/homework-help/homework-center-writing-book-report
• ↑ https://liberalarts.oregonstate.edu/wlf/what-setting
• ↑ https://www.tcc.edu/wp-content/uploads/archive/writing-center-handouts/essay-types-plot-summary.pdf
• ↑ https://www.cornerstone.edu/blog-post/six-steps-to-really-edit-your-paper/

About This Article

To write a book report, start by introducing the author and the name of the book and then briefly summarizing the story. Next, discuss the main themes and point out what you think the author is trying to suggest to the reader. Finally, write about the author’s style of writing, paying particular attention to word choice and the overall tone of the book. For tips on editing and polishing your paper before turning it in, keep reading! Did this summary help you? Yes No

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• If you are writing in a new discipline, you should always make sure to ask about conventions and expectations for introductions, just as you would for any other aspect of the essay. For example, while it may be acceptable to write a two-paragraph (or longer) introduction for your papers in some courses, instructors in other disciplines, such as those in some Government courses, may expect a shorter introduction that includes a preview of the argument that will follow.  
• In some disciplines (Government, Economics, and others), it’s common to offer an overview in the introduction of what points you will make in your essay. In other disciplines, you will not be expected to provide this overview in your introduction.  
• Avoid writing a very general opening sentence. While it may be true that “Since the dawn of time, people have been telling love stories,” it won’t help you explain what’s interesting about your topic.  
• Avoid writing a “funnel” introduction in which you begin with a very broad statement about a topic and move to a narrow statement about that topic. Broad generalizations about a topic will not add to your readers’ understanding of your specific essay topic.  
• Avoid beginning with a dictionary definition of a term or concept you will be writing about. If the concept is complicated or unfamiliar to your readers, you will need to define it in detail later in your essay. If it’s not complicated, you can assume your readers already know the definition.  
• Avoid offering too much detail in your introduction that a reader could better understand later in the paper.
• picture_as_pdf Introductions

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A Step-By-Step Guide to Writing an Essay on a Book

Topic and assignment prompt, essay structure, why is it important.

Outlining Essay Structure

Organizing your essay efficiently is important for making sure it’s clear, concise, and to the point. Before you start writing, it’s important to understand the basic structure of an essay. Most essays are composed of an introduction, body, and conclusion.

The introduction serves as an opening paragraph where you should introduce the topic and provide any necessary background information that readers may need in order to understand the essay. A good introduction will explain why a reader should care about your topic and capture the attention of the reader.

The body is the main section of the essay where you will provide evidence, quotes, and any other relevant information to prove your point. It is important to make sure that each body paragraph has only one main point, and all of the evidence presented in the paragraph supports that one point.

The conclusion is the last paragraph of the essay. It should wrap up all of the points you made in the body and leave the reader with a sense of closure. It should also create a takeaway, or something for the reader to remember about what they have just read.

To make sure your essay is organized and has a consistent tone throughout, it is important to outline what each section should include. Outlining your essay structure before beginning eliminates unnecessary stress and makes sure you don’t forget any important points.

Research Phase: The Importance of Researching the Book

Before you dive into writing your essay on a book, you’ll want to make sure that you have done your research. No matter how familiar you are with the subject, it’s important to conduct research to ensure that your essay is accurate and well-informed.

Research can help you form a stronger thesis statement, better support your arguments, and provide evidence for your claims. It can also help you to organize your thoughts, uncover new ideas and angles, gain a deeper understanding of the text, or even find quotes or references that you can use in your essay.

Research should always come first. It helps to lay a strong foundation for the rest of your essay and it can save you from making any embarrassing mistakes. Have a clear understanding of the book’s themes, characters, and plot before you begin. Read reviews and criticisms, and take down notes for later.

Start by reading the book itself. Take your time and pay attention to details. Make notes, highlight any important passages, and consider different interpretations. After you get an overall gist of the book, expand your research outward into scholarly reviews, biographies, and other texts that can provide an objective, informed perspective.

The more research you do, the stronger your essay will be. Be sure to include all of the sources you used in your bibliography section. Research can be a tedious process, but with enough effort and dedication, you’ll be able to craft a well-informed, thoughtful essay on any book.

Pre-Writing Phase: Planning Your Essay

The pre-writing phase is the most important part of writing an essay on a book. Taking the time to plan your essay and organize your thoughts will help structure your argument and make your writing smoother. The pre-writing phase should involve a few key steps.

• Brainstorm – Before you start writing, spend some time thinking about the book and how it relates to any themes, characters, or symbolism. Jot down your ideas so that you have a better understanding of what you want to focus on.
• Outline – Write down some notes and make an outline of what you will cover in each paragraph. This will help you stay organized while writing and keep everything on track.
• Research – Research any facts or quotes you may need to include in your essay. This will help you back up your claims and make your paper stronger.

Taking the time to plan ahead will help ensure your essay on a book is written clearly and effectively. You’ll be able to shape your argument easily and make sure you don’t miss anything important.

Thesis Formation

The thesis statement is a critical part of any essay on a book. It should be clear, concise, and capture the main argument and point of view of the essay. To ensure that your essay’s thesis statement is well-crafted, it is essential to follow a step-by-step guide.

Step One: Brainstorming Ideas

Before writing a thesis statement, you should brainstorm some ideas related to the book’s content. Consider the key elements of the book and think about how they could be connected into an argument or observation. Write down any ideas that pop into your mind, and use them as a basis for forming your thesis statement.

Step Two: Developing the Argument

Once you have a few ideas in mind, it is time to start developing a coherent argument. Try to make a connection between the ideas to create an original argument. Then, think about why this argument is important and what makes it relevant to the text.

Step Three: Writing the Thesis Statement

Now that you have an argument in mind, you are ready to craft your thesis statement. It should be a single sentence that clearly and concisely expresses your main argument. Generally, it should follow the same structure as any other essay’s thesis statement, stating the primary point of view, the evidence supporting it, and any other relevant details.

Step Four: Proofreading

The final step of crafting a great thesis statement is to proofread and edit it. Make sure that the statement is clear, concise, and captures the argument accurately. Additionally, pay attention to grammar and spelling. A minor mistake can weaken the force of the statement significantly.

Creating an effective thesis statement can help get your essay off to a strong start. As long as you follow these steps, you will be able to form a well-developed argument that can help you write a great essay on a book.

Drafting an Organized Paragraph

Drafting your essay is like painting a picture. It can be intimidating at first, but with the right tools and techniques you’ll be able to create an organized and impressive essay.

When drafting your essay, the most important thing to remember is to write in an organized manner. This means your thoughts should be expressed in a logical flow and in a way that makes sense. Each paragraph should begin with a topic sentence that introduces the main point of the paragraph and then should be followed up with evidence that supports it.

To ensure your essay is well-structured, it’s helpful to plan out each paragraph beforehand. Outlining the main points of each paragraph can help you stay on track and make sure each paragraph has its own clear purpose.

Once you have a clear plan for each paragraph, you can start writing. Remember to keep your sentences concise and on topic. Each sentence should have a purpose and help to support the main idea of the paragraph. To make sure your ideas flow smoothly, try reading each sentence aloud; this will help you identify any confusing sentences or spot any gaps in your argument.

Finally, once you have drafted each paragraph, read through the whole essay to make sure it all fits together. Ensure the order of the arguments makes sense, and that there is a clear connection between each paragraph. Being mindful of this when writing will help make your essay more organized and compelling.

Writing an essay on a book can be a daunting task, but if you take it step-by-step, you’ll find that it quickly becomes easier. Concentrate on writing each individual paragraph in an organized manner and then tie them all together for a cohesive essay.

Get Help With Your Paper

Editing: benefits and how to approach it effectively.

When writing an essay on a book, editing is a crucial step in the process. It can often be overlooked or skipped, but it shouldn’t be! Editing offers many valuable benefits, and it’s important to understand how to approach it effectively.

One of the biggest benefits of editing is that it gives you the opportunity to look at your essay with fresh eyes. Once you’ve written the paper, it can be nearly impossible to look at it objectively. Editing allows you to look at it critically and make necessary changes.

Editing also helps you to catch grammar mistakes, spelling errors, and typos. A single error can easily ruin an entire essay, so it’s essential to go over the paper and make sure everything is perfect. This can only be done by editing the paper carefully.

Finally, editing can help you to make sure that the essay is coherent and well-written. After  writing the paper , you might realize that the introduction and conclusion don’t match up, or that two paragraphs contradict each other. Editing will help you to identify such issues and make the necessary adjustments.

Now that we’ve discussed the benefits of editing, let’s look at how to approach it effectively. The first step is to read the entire essay through once without making any changes. This should give you a good overview of the paper and allow you to spot any major issues. The next step is to go through the paper again and make notes as you go along.

You should pay particular attention to grammar, spelling, typos, and structure. Make a note of anything that stands out and needs to be changed. Don’t worry if you can’t fix it right away – just write it down and come back to it later. The goal is to get an overall picture of what needs to be done.

Finally, it’s time to make the actual changes. Take your time and read each sentence carefully before you make any changes. Don’t be afraid to delete or add content between paragraphs to ensure that the essay flows naturally.

In summary, editing is an essential step in the essay-writing process. It offers many benefits, including the ability to look at the essay objectively, catch grammar mistakes and typos, and ensure that the essay is coherent and well-written. When approaching the editing phase, it’s important to read the paper through once without making any changes, make notes as you go, and take your time when making the actual changes.

Topics to Read:

• How to Write an Executive Summary for an Essay
• How to Write an Explanatory Essay
• How to Write Interesting Essays
• Argumentative Essay Introduction
• How to Write a Good Hook for an Argumentative Essay
• Strong Transition Words for Essays
• How to Write a Reaction Paper About an Article
• How to Ask Questions in an Essay
• How to Create Essay Title
• How to Analyze a Short Story

Formatting – Adhering to Academic Standards

Formatting your essay correctly is a critical step in the writing process. It shows that you have taken care to put together an essay that follows the academic standards.

Here are a few tips for formatting your essay according to academic standards:

• Make sure the margins of your essay are set to one inch on all sides.
• Your font should be size 12 Times New Roman or Arial.
• Use double spacing between lines, and make sure there is no extra space before or after each paragraph.
• When quoting direct text, indenting it five spaces will make it easier to read.
• Include a header at the top of your document that includes the title of the essay, your name, and the page number.

Formatted correctly, your essay will present itself as concise, organized, and professional. This is a must when following academic standards.

If you want to ensure that your essay looks even better, check with your professor for specific formatting requirements for your assignment.

By taking the time to properly format your essay, you are showing that you understand the importance of adhering to academic standards. This will help you get the best grades possible!

Understanding the Assignment

Writing an essay on a book can be quite a challenge for many students. One of the most important skills for tackling this task is to understand the assignment. To begin, students should read carefully and take notes on the writing prompt. Pay close attention to all the instructions as they are key to crafting an effective essay. This includes being mindful of any keywords or phrases in the prompt that will require further research.

When interpreting the instructions, it is also important to consider any extra guidelines or expectations the professor may have provided. These can include formatting, length, and specific areas of emphasis such as themes or characters. Questions such as ‘Who is the protagonist?’ or ‘How do the themes interact?’ should be actively considered while writing the essay. This helps produce a focused piece of work that is tailored to meet the requirements.

In addition, consider questions such as ‘What do I need to include?’ or ‘What is the purpose of this essay?’. Answering these questions allows students to identify their main points and develop an argument around them. This is a crucial step for forming an essay that is logical and cohesive.

Finally, students should always use the essay assignment to test their understanding of the book. It is often beneficial to leave time at the end of the writing process to review knowledge and reflect on any unanswered questions. Doing so ensures that the essay is comprehensive and addresses all aspects of the prompt.

Understanding the  assignment is a vital step when writing  an essay on a book. By paying attention to the prompt and any additional guidelines, students can ensure that their assignment is focused, detailed, and suitable for the task.

Effective Use of Quotes

When writing an essay on a book, it is important to use quotes to effectively show the reader your understanding of the material. Quotes should be used when they illustrate a point, demonstrate a concept, or further explain something you wrote in the text of your essay.

The following are some tips for incorporating quotes into your essay:

Make sure your quote is relevant to the main argument of your essay.

Choose a quote that is engaging and thought-provoking.

Include the right amount of detail – don’t use too much or too little.

Explain the quote in your own words and provide context.

Think critically about the quote and how it applies to your argument.

Integrate the quote into your essay so that it flows naturally.

When adding in a quote, you must also include proper citation. Depending on the format of your essay, this might require putting quotation marks around the quote and including the author’s name and page number at the end of the quote.

Using quotes in your essay may seem intimidating, but it is an essential part of demonstrating your understanding of the material you are discussing. When done correctly, quotes add depth and detail to your paper and make it more interesting to read. Make sure to choose quotes carefully and that they are meaningful to your paper—they can make or break your essay!

Tools for Writing an Essay on a Book

When writing an essay on a book there are certain tools that can help make the process easier. Knowing some of these basic terms and tools can help you write a better essay and make it much more enjoyable.

Creating an outline is one of the most important steps in writing an essay. It provides structure to your essay, ensuring that each point is made in the correct order and that the essay flows logically. Outlining also helps you stay organized and remember what needs to be included in the essay.

Doing research is important when writing an essay about a book. Read through the text and make notes about any interesting or pertinent information you find. Also, look for additional sources that can provide further insight into the book or the topics it raises.

Grammar and Spelling Checkers

Grammar and spelling checkers can be extremely useful when writing your essay. They can help you identify mistakes or typos that you may have missed. Double-check your work before you submit it to make sure it is as accurate and error-free as possible.

Writing Resources

Finally, there are many great writing resources available online that can provide further advice and guidance on how to write an effective essay. Look through examples of essays written by other students and learn from their techniques and approaches.

Knowing some of these basic terms and tools can help you get off to a  strong start when writing an essay  on a book. Do your research, create an outline, and use grammar and spelling checkers to make sure your work is as perfect as possible. Finally, don’t forget to look for other writing resources that can provide insight and advice.

Writing an essay on a book can be a daunting task, especially when attempting it for the first time. This guide aims to make the process of writing an essay on a book simple and easy-to-follow. By following the steps outlined in this article, you can make the process of writing your essay much easier.

A good conclusion should summarize the main points of the article, explain how to approach writing the final version, and reiterate why the content was important. To conclude your essay, start by summarizing the arguments and ideas that you presented throughout your paper. Then, move on to discussing why you chose to write the essay and the importance of studying the book. Finally, provide a brief statement that sums up the main points of the essay.

When writing the final version of your essay, there are some key points to keep in mind. First, proofread your work for any typos or errors. Make sure to properly cite any quotes or references that you used in your essay. Finally, consider having a peer review your essay to get another perspective and catch any mistakes that you might have missed.

Writing an essay on a book can be a rewarding experience when done correctly. The most important part of the process is to fully understand the material and the prompt. By following the steps outlined in this article and taking the time to research and plan, you can write an effective essay on a book.

Nick Radlinsky

Nick Radlinsky is a devoted educator, marketing specialist, and management expert with more than 15 years of experience in the education sector. After obtaining his business degree in 2016, Nick embarked on a quest to achieve his PhD, driven by his commitment to enhancing education for students worldwide. His vast experience, starting in 2008, has established him as a reputable authority in the field.

Nick's article, featured in Routledge's " Entrepreneurship in Central and Eastern Europe: Development through Internationalization ," highlights his sharp insights and unwavering dedication to advancing the educational landscape. Inspired by his personal motto, "Make education better," Nick's mission is to streamline students' lives and foster efficient learning. His inventive ideas and leadership have contributed to the transformation of numerous educational experiences, distinguishing him as a true innovator in his field.

What Is the IB Learner Profile? Attributes and Benefits

It’s more than just a framework; the IB learner profile is a list of ten traits that are meant to help students become well-rounded, globally aware people. As an IB writer, I can say that these characteristics, like thinking, communicating, and keeping an open mind, help students grow mentally and socially.

How to Write a Successful IB TOK Exhibition?

To make a successful TOK exhibition, carefully choose the objects, provide clear comments, and plan. As a teacher of IB writing for many years, I’ve seen that students who approach the task with an organized plan and a lot of thought often come up with the best presentations. Don’t rush through the process.

How to Prepare for IB Oral Assessments?

Preparing for IB Oral Assessments entails more than simply understanding your content; it also requires mastering the skill of effective speaking under pressure. As an experienced IB writer, I’ve seen that students who begin their preparation early, practice frequently, and grasp the exact criteria that examiners are looking for do well on these assessments.

IB CAS Projects. The Importance of Reflection

By reflecting on your CAS projects, you learn more about your strengths and flaws. This lets you make smart choices and changes as you work on your project. This process of self-reflection ensures that your CAS experience is more than just a list of things to do; it’s a valuable path of growth.

Best Effective Time Management Strategies in IB Diploma

For the IB Diploma, where homework, projects, and tests can quickly pile up, learning how to handle your time well is essential. I believe that coming up with good ways to handle your time is not only helpful, it’s necessary.

How to Develop a Research Question for IB IA?

The most important thing for a good IB Internal Assessment (IA) is coming up with a good research question. As a former IB writer, I can promise you that a well-written research question will not only help you with your research, but it will also help you keep your analysis on track and make sense.

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Book Reviews

What this handout is about.

This handout will help you write a book review, a report or essay that offers a critical perspective on a text. It offers a process and suggests some strategies for writing book reviews.

What is a review?

A review is a critical evaluation of a text, event, object, or phenomenon. Reviews can consider books, articles, entire genres or fields of literature, architecture, art, fashion, restaurants, policies, exhibitions, performances, and many other forms. This handout will focus on book reviews. For a similar assignment, see our handout on literature reviews .

Above all, a review makes an argument. The most important element of a review is that it is a commentary, not merely a summary. It allows you to enter into dialogue and discussion with the work’s creator and with other audiences. You can offer agreement or disagreement and identify where you find the work exemplary or deficient in its knowledge, judgments, or organization. You should clearly state your opinion of the work in question, and that statement will probably resemble other types of academic writing, with a thesis statement, supporting body paragraphs, and a conclusion.

Typically, reviews are brief. In newspapers and academic journals, they rarely exceed 1000 words, although you may encounter lengthier assignments and extended commentaries. In either case, reviews need to be succinct. While they vary in tone, subject, and style, they share some common features:

• First, a review gives the reader a concise summary of the content. This includes a relevant description of the topic as well as its overall perspective, argument, or purpose.
• Second, and more importantly, a review offers a critical assessment of the content. This involves your reactions to the work under review: what strikes you as noteworthy, whether or not it was effective or persuasive, and how it enhanced your understanding of the issues at hand.
• Finally, in addition to analyzing the work, a review often suggests whether or not the audience would appreciate it.

Becoming an expert reviewer: three short examples

Reviewing can be a daunting task. Someone has asked for your opinion about something that you may feel unqualified to evaluate. Who are you to criticize Toni Morrison’s new book if you’ve never written a novel yourself, much less won a Nobel Prize? The point is that someone—a professor, a journal editor, peers in a study group—wants to know what you think about a particular work. You may not be (or feel like) an expert, but you need to pretend to be one for your particular audience. Nobody expects you to be the intellectual equal of the work’s creator, but your careful observations can provide you with the raw material to make reasoned judgments. Tactfully voicing agreement and disagreement, praise and criticism, is a valuable, challenging skill, and like many forms of writing, reviews require you to provide concrete evidence for your assertions.

Consider the following brief book review written for a history course on medieval Europe by a student who is fascinated with beer:

Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600, investigates how women used to brew and sell the majority of ale drunk in England. Historically, ale and beer (not milk, wine, or water) were important elements of the English diet. Ale brewing was low-skill and low status labor that was complimentary to women’s domestic responsibilities. In the early fifteenth century, brewers began to make ale with hops, and they called this new drink “beer.” This technique allowed brewers to produce their beverages at a lower cost and to sell it more easily, although women generally stopped brewing once the business became more profitable.

The student describes the subject of the book and provides an accurate summary of its contents. But the reader does not learn some key information expected from a review: the author’s argument, the student’s appraisal of the book and its argument, and whether or not the student would recommend the book. As a critical assessment, a book review should focus on opinions, not facts and details. Summary should be kept to a minimum, and specific details should serve to illustrate arguments.

Now consider a review of the same book written by a slightly more opinionated student:

Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600 was a colossal disappointment. I wanted to know about the rituals surrounding drinking in medieval England: the songs, the games, the parties. Bennett provided none of that information. I liked how the book showed ale and beer brewing as an economic activity, but the reader gets lost in the details of prices and wages. I was more interested in the private lives of the women brewsters. The book was divided into eight long chapters, and I can’t imagine why anyone would ever want to read it.

There’s no shortage of judgments in this review! But the student does not display a working knowledge of the book’s argument. The reader has a sense of what the student expected of the book, but no sense of what the author herself set out to prove. Although the student gives several reasons for the negative review, those examples do not clearly relate to each other as part of an overall evaluation—in other words, in support of a specific thesis. This review is indeed an assessment, but not a critical one.

Here is one final review of the same book:

One of feminism’s paradoxes—one that challenges many of its optimistic histories—is how patriarchy remains persistent over time. While Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600 recognizes medieval women as historical actors through their ale brewing, it also shows that female agency had its limits with the advent of beer. I had assumed that those limits were religious and political, but Bennett shows how a “patriarchal equilibrium” shut women out of economic life as well. Her analysis of women’s wages in ale and beer production proves that a change in women’s work does not equate to a change in working women’s status. Contemporary feminists and historians alike should read Bennett’s book and think twice when they crack open their next brewsky.

This student’s review avoids the problems of the previous two examples. It combines balanced opinion and concrete example, a critical assessment based on an explicitly stated rationale, and a recommendation to a potential audience. The reader gets a sense of what the book’s author intended to demonstrate. Moreover, the student refers to an argument about feminist history in general that places the book in a specific genre and that reaches out to a general audience. The example of analyzing wages illustrates an argument, the analysis engages significant intellectual debates, and the reasons for the overall positive review are plainly visible. The review offers criteria, opinions, and support with which the reader can agree or disagree.

Developing an assessment: before you write

There is no definitive method to writing a review, although some critical thinking about the work at hand is necessary before you actually begin writing. Thus, writing a review is a two-step process: developing an argument about the work under consideration, and making that argument as you write an organized and well-supported draft. See our handout on argument .

What follows is a series of questions to focus your thinking as you dig into the work at hand. While the questions specifically consider book reviews, you can easily transpose them to an analysis of performances, exhibitions, and other review subjects. Don’t feel obligated to address each of the questions; some will be more relevant than others to the book in question.

• What is the thesis—or main argument—of the book? If the author wanted you to get one idea from the book, what would it be? How does it compare or contrast to the world you know? What has the book accomplished?
• What exactly is the subject or topic of the book? Does the author cover the subject adequately? Does the author cover all aspects of the subject in a balanced fashion? What is the approach to the subject (topical, analytical, chronological, descriptive)?
• How does the author support their argument? What evidence do they use to prove their point? Do you find that evidence convincing? Why or why not? Does any of the author’s information (or conclusions) conflict with other books you’ve read, courses you’ve taken or just previous assumptions you had of the subject?
• How does the author structure their argument? What are the parts that make up the whole? Does the argument make sense? Does it persuade you? Why or why not?
• How has this book helped you understand the subject? Would you recommend the book to your reader?

Beyond the internal workings of the book, you may also consider some information about the author and the circumstances of the text’s production:

• Who is the author? Nationality, political persuasion, training, intellectual interests, personal history, and historical context may provide crucial details about how a work takes shape. Does it matter, for example, that the biographer was the subject’s best friend? What difference would it make if the author participated in the events they write about?
• What is the book’s genre? Out of what field does it emerge? Does it conform to or depart from the conventions of its genre? These questions can provide a historical or literary standard on which to base your evaluations. If you are reviewing the first book ever written on the subject, it will be important for your readers to know. Keep in mind, though, that naming “firsts”—alongside naming “bests” and “onlys”—can be a risky business unless you’re absolutely certain.

Writing the review

Once you have made your observations and assessments of the work under review, carefully survey your notes and attempt to unify your impressions into a statement that will describe the purpose or thesis of your review. Check out our handout on thesis statements . Then, outline the arguments that support your thesis.

Your arguments should develop the thesis in a logical manner. That logic, unlike more standard academic writing, may initially emphasize the author’s argument while you develop your own in the course of the review. The relative emphasis depends on the nature of the review: if readers may be more interested in the work itself, you may want to make the work and the author more prominent; if you want the review to be about your perspective and opinions, then you may structure the review to privilege your observations over (but never separate from) those of the work under review. What follows is just one of many ways to organize a review.

Introduction

Since most reviews are brief, many writers begin with a catchy quip or anecdote that succinctly delivers their argument. But you can introduce your review differently depending on the argument and audience. The Writing Center’s handout on introductions can help you find an approach that works. In general, you should include:

• The name of the author and the book title and the main theme.
• Relevant details about who the author is and where they stand in the genre or field of inquiry. You could also link the title to the subject to show how the title explains the subject matter.
• The context of the book and/or your review. Placing your review in a framework that makes sense to your audience alerts readers to your “take” on the book. Perhaps you want to situate a book about the Cuban revolution in the context of Cold War rivalries between the United States and the Soviet Union. Another reviewer might want to consider the book in the framework of Latin American social movements. Your choice of context informs your argument.
• The thesis of the book. If you are reviewing fiction, this may be difficult since novels, plays, and short stories rarely have explicit arguments. But identifying the book’s particular novelty, angle, or originality allows you to show what specific contribution the piece is trying to make.
• Your thesis about the book.

Summary of content

This should be brief, as analysis takes priority. In the course of making your assessment, you’ll hopefully be backing up your assertions with concrete evidence from the book, so some summary will be dispersed throughout other parts of the review.

The necessary amount of summary also depends on your audience. Graduate students, beware! If you are writing book reviews for colleagues—to prepare for comprehensive exams, for example—you may want to devote more attention to summarizing the book’s contents. If, on the other hand, your audience has already read the book—such as a class assignment on the same work—you may have more liberty to explore more subtle points and to emphasize your own argument. See our handout on summary for more tips.

Analysis and evaluation of the book

Your analysis and evaluation should be organized into paragraphs that deal with single aspects of your argument. This arrangement can be challenging when your purpose is to consider the book as a whole, but it can help you differentiate elements of your criticism and pair assertions with evidence more clearly. You do not necessarily need to work chronologically through the book as you discuss it. Given the argument you want to make, you can organize your paragraphs more usefully by themes, methods, or other elements of the book. If you find it useful to include comparisons to other books, keep them brief so that the book under review remains in the spotlight. Avoid excessive quotation and give a specific page reference in parentheses when you do quote. Remember that you can state many of the author’s points in your own words.

Sum up or restate your thesis or make the final judgment regarding the book. You should not introduce new evidence for your argument in the conclusion. You can, however, introduce new ideas that go beyond the book if they extend the logic of your own thesis. This paragraph needs to balance the book’s strengths and weaknesses in order to unify your evaluation. Did the body of your review have three negative paragraphs and one favorable one? What do they all add up to? The Writing Center’s handout on conclusions can help you make a final assessment.

Finally, a few general considerations:

• Review the book in front of you, not the book you wish the author had written. You can and should point out shortcomings or failures, but don’t criticize the book for not being something it was never intended to be.
• With any luck, the author of the book worked hard to find the right words to express her ideas. You should attempt to do the same. Precise language allows you to control the tone of your review.
• Never hesitate to challenge an assumption, approach, or argument. Be sure, however, to cite specific examples to back up your assertions carefully.
• Try to present a balanced argument about the value of the book for its audience. You’re entitled—and sometimes obligated—to voice strong agreement or disagreement. But keep in mind that a bad book takes as long to write as a good one, and every author deserves fair treatment. Harsh judgments are difficult to prove and can give readers the sense that you were unfair in your assessment.
• A great place to learn about book reviews is to look at examples. The New York Times Sunday Book Review and The New York Review of Books can show you how professional writers review books.

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.

Drewry, John. 1974. Writing Book Reviews. Boston: Greenwood Press.

Hoge, James. 1987. Literary Reviewing. Charlottesville: University Virginia of Press.

Sova, Dawn, and Harry Teitelbaum. 2002. How to Write Book Reports , 4th ed. Lawrenceville, NY: Thomson/Arco.

Walford, A.J. 1986. Reviews and Reviewing: A Guide. Phoenix: Oryx Press.

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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March 18, 2018 By Anne R. Allen 66 Comments

How Long Should A Book Be? Word Count Guidelines by Genre.

Follow word count guidelines to keep from snoozifying your reader. 

by Anne R. Allen

A constant complaint I hear from agents, editors, writing teachers , and reviewers is that they see too many manuscripts with inappropriate word counts.

If you’re getting a lot of form rejections or simply silence from agents, reviewers and editors, this may be why.

Word count guidelines have been trending down in the last decade. Most editors won’t look at a debut manuscript longer than 100K words—a little longer if it’s fantasy or a non-romance historical. They were not so rigid ten years ago.

Now publishers—and many readers—won’t take a chance on any long book by an unproven author.

While readers will happily plunk down the big bux for an 819-page book by George R. R. Martin, they’ll turn up their noses at a book that long—even if it only costs 99c—if it’s written by Who R. R. You.

I know the “accepted wisdom” in the indie world is that if you self-publish, you can write whatever the heck you want and people will buy it. But that’s no longer the case. The wrong word count for your genre red-flags you as an amateur, and most readers don’t have time for amateurs.

Not when there’s so much professional-level stuff being self-published.

A decade after the beginning of the “Kindle Revolution,” too many readers have been burned by self-published bloated rough drafts. A reader is not likely to pick up a book that screams “I’ve been writing this in my spare time for the last 8 years and I refuse to rewrite and would never let an editor tamper with my genius.”

So don’t be that guy.

Word Count Guidelines By Genre

Word counts are generally agreed to be the count provided by MS Word’s “Word Count” tool. Some extremely old-school agents prefer that you use the formula of 250 words per page (double spaced, 12 pt. font) and calculate it yourself, which seems a silly waste of time, but always check agent websites for guidelines.

For debut authors, following these rules will seriously improve your chances of traditional publication and/or establishing a readership, no matter how you publish.

In other words, get famous first and break the rules later.

If you are a household name, you can publish a compendium of your shopping lists from the past two decades and your publisher will happily promote it and people will buy it.

Unfortunately, that’s not true for the rest of us.

Here is a summary of current word count guidelines. This is a composite taken from a number of publishing industry websites, so nothing is set in stone. Take these as target word counts.  Some publishers will accept longer or shorter books, so always check the website of an agent or publisher before you submit.

Note I say these are for “debut” fiction. Once you have a loyal fan base, you can break the rules with abandon.

Word Count Guidelines for Debut Fiction

Picture Book s—text: 500-1000 words (32 pages is ideal.)

Middle Grade fiction —20K to 40K. (Yes, we all know about Harry Potter. And when you’re as famous as J.K. Rowling you can write MG tomes, too.) “Upper Middle Grade” can be a bit longer.

Young Adult fiction —25K to 80K.

Chick Lit —60K-75K.

Cozy Mysteries —55K-70K. (BTW, Agatha Christie’s mysteries sometimes came in at 40K words. I think we may be going back in that direction.)

Fantasy —90K-110K. Definitely down from the epic tomes of yore. Self-publishers can get away with more. Fantasy readers like big books and they cannot lie. 🙂

Historical fiction —80K to 110K+. (You can still wax verbitudinous in this genre.)

Literary fiction —65K to 100K, trending away from the higher numbers. “Spare and elegant” is the mark of literary chic these days.

Standard Mysteries and Crime Fiction —70K to 100K.

Romance —55K-75K. For subgenres of romance, check publishers’ guidelines. Word counts for specific romance lines can be very strict. Some historicals can be longer, although Regencies tend to be short.

Science Fiction —75K—100K. When there’s world-building involved a book generally needs to be longer.

Thrillers —80K to 100K.

Urban Fantasy / Paranormal Romance —70K to 90K.

Westerns —50K-80K.

Women’s Fiction —70K-100K. The women’s fiction family saga has gone out of fashion recently, but they’re generally on the longer end.

Around 80K seems to be the magic number for most adult fiction. So if your ms. goes way over that, it may be time to put on your editor hat and get ruthless.

Word Count Guidelines for Nonfiction

Nonfiction books have shrunk drastically in the last decade. A study done last spring showed that the average length of a nonfiction bestseller has dropped 42% in the last seven years.

In 2011, the average length of a best-selling non-fiction book was 467 pages, but that dropped to 273 pages in 2017.

Nonfiction books get queried in the form of book proposals, so you don’t submit a complete manuscript (except for memoir, which you query like a novel.) That’s probably why word count guidelines for nonfiction are so hard to find. I’ve also found wildly different word count suggestions between agencies.

So treat these as word count “guestimates.”

Biography —80K-110K. These can be pretty long. Especially if your credentials are good.

Commentary —40K-60K. Not much info out there about word count guidelines for political and other opinion books. If you have appeared on cable TV news, you can probably get away with more verbiage.

Humor —20K-40K. For humorous memoir, follow memoir guidelines, and for funny novels, follow fiction guidelines, but for books like John Hodgman’s  The Areas of my Expertise , Dave Barry’s Complete Guide to Guys or the classic 1066 and All That , (only 128 pages and still in print after 80 years) keep it to 40K words or less.

Memoir and Narrative Nonfiction —40K-70K. You’ll probably want to prune a memoir if it goes over 70K. Books in this genre tend to get bloated without heavy editing. Remember you can write many memoirs about different aspects of your life.

Self-Help & How-To —20K-50K. In the age of ebooks, these are getting shorter all the time. My publisher had me cut my book The Author Blog down from 40K.  (And these days some ebook how-to’s are only 3500 words long.)

Travel and Nature —40K-70K A lot of these books blur boundaries with memoir.

What if Your Ms. Doesn’t Fit Word Count Guidelines? 

With both fiction and nonfiction, it’s best to err on the side of brevity these days. To quote Chuck Sambuchino, editor of the Guide to Literary Agents :

“Agents have so many queries that they are looking for reasons to say no. They are looking for mistakes, chinks in the armor, to cut their query stack down by one. And if you adopt the mentality that your book has to be long, then you are giving them ammunition to reject you.”

If your word count goes over the limit:

• Consider splitting it into two books.
• Or a trilogy. You’ll triple your income. 🙂
• Are the extra words in there for world-building? Consider cutting some details and putting them on your blog.
• Do some ruthless editing. Are you repeating yourself? Can you say something with one word instead of ten?
• Can you condense some of those conversations with indirect dialogue ?

If your word count is under the limit:

• For literary fiction: Flesh out characters.
• Thrillers: Weave in another subplot.
• Crime fiction: Kill off a few more victims.
• Or…maybe you’ve got a novella.

Novellas are hot.

Yes, old-school Big Five publishers (and Bookbub) still aren’t much interested in novellas, and some agents will reject on low word count alone.

But readers love them! Jane Austen fan fiction authors have been practically minting money with 140-page or less “Pride and Prejudice variation” Regency novellas in the last few years.

And forward-looking agencies like Fuse Literary offer “assisted self-publishing” for their authors to write novellas in between big novel releases. Their Short Fuse Publishing produces digital-first novellas in a number of genres.

For more on the popularity of the novella, check out Paul Alan Fahey’s post for us on the subject. Next June we’ll have a post from actress and bestselling author Mara Purl on the difference between writing a novel and a novella.

by Anne R. Allen @annerallen March 18, 2018. Photo by Sage Ross.

What about you, scriveners? Do you have a problem keeping to word count guidelines? Do you tend to write over or under the standard word count? Have you ever turned a long book into two or three? 

On March 19th, Anne will be visiting Romance University, where she’ll be talking about the many benefits of having an author blog.

BOOK OF THE WEEK

SALE EXTENDED until March 25th!

The first three books in THE CAMILLA RANDALL MYSTERIES series :  Ghostwriters in the Sky, Sherwood, Ltd . and  The Best Revenge . Three hilarious rom-com mysteries for less than a dollar!!

99c at All the Amazons   and NOOK , until March 24th

OPPORTUNITY ALERTS

Wergle Flomp Humorous Poetry Contest   NO FEE.  The First prize is $1,000 and there’s a second prize of $250. Also 10 Honorable Mentions will receive $100 each. The top 12 entries get published online. Judge: Jendi Reiter, assisted by Lauren Singer. Length limit: 250 lines. And there are no restrictions on age or country. DEADLINE APRIL 1st

Chautauqua’s Annual Editors’ Prize. $3 FEE .  $1000 prize for winning story, essay or poem, plus publication in Chautauqua’s annual journal.  The theme is “Moxie”. Using the online submission system, submit 3 poems totaling no more than 8 pages or up to 7,000 words of prose. Deadline April 15th. 

Sixfold  Poetry and Short Story Awards.  $5 entry FEE. Two prizes of $1,000 each and publication in  Sixfold  are given quarterly for a group of poems and a short story. Using the online submission system, submit up to five poems totaling no more than 10 pages or up to 20 pages of prose. Deadline April 23 .

Red Hen Press annual Nonfiction Contest.    $25 entry FEE. $1,000 prize and publication by the prestigious Red Hen Press. They’re looking for an essay collection, memoir, or book of narrative nonfiction. Florencia Ramirez will judge. Using the online submission system, submit a manuscript of at least 150 pages.  Deadline April 30

CRAFT Literary Short Story contest. $20 FEE .  Short fiction up to 6000 words. $2000 first prize; the two runners-up will receive $500 and $300, respectively. plus publication in CRAFT  Literary Magazine. Deadline April 30th.

13 Imprints of Big 5 publishers who take unagented submissions. From the good people at Authors Publish Magazine.

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About Anne R. Allen

Anne writes funny mysteries and how-to-books for writers. She also writes poetry and short stories on occasion. Oh, yes, and she blogs. She's a contributor to Writer's Digest and the Novel and Short Story Writer's Market.

Her bestselling Camilla Randall Mystery RomCom Series features perennially down-on-her-luck former socialite Camilla Randall—who is a magnet for murder, mayhem and Mr. Wrong, but always solves the mystery in her quirky, but oh-so-polite way.

Anne lives on the Central Coast of California, near San Luis Obispo, the town Oprah called "The Happiest City in America."

March 18, 2018 at 10:06 am

Helpful information — once again. Thanks heaps. And I think I just may have to start submitting under the moniker Who R. R. You.

March 18, 2018 at 11:22 am

I also fell in love with the pseudonym, CS, it’s perfect for my career at this point.

I was very surprised, Anne, at the lower length of lit-fic these days, I thought that was still immune. But everything else, yeah I’m hearing the same thing from all my colleagues- perfect is 10k short than what you’re looking at now.

I think there’s a lot to be said for drawing out the characters/plot lines etc and making your tale into a series. If you can pull it off without seeming trite, you’ll hit two birds with the same stone because people still love themselves a series, right?

Thanks again for another informative, fun, funny and steal-able post!

March 18, 2018 at 11:30 am

CS and Will–I’m glad you liked the RR joke. I keep thinking I should add another R to my name and be Anne R. R. Allen. Will definitely do it if I decide to write fantasy. 🙂

Will–A series is the way to go for so many reasons. They sell better overall, plus you make more money selling individual titles. Plus you can make the first one free or very cheap to draw people in.

March 18, 2018 at 10:36 am

I second csperryess on both counts: There’s a whole heap of useful, and even interesting, information here. And Who R.R. You is a hoot!

March 18, 2018 at 11:31 am

Tricia–It’s so fun when a joke just appears on the page the way that one did. 🙂

March 18, 2018 at 10:39 am

Anne—Thanks for the useful, up-to-date info on word count! Since attention spans are shorter, seems like books should be, too. Is “bite size” the next trend?

March 18, 2018 at 11:34 am

Ruth–Bite Size is definitely a trend. James Patterson is having huge success with his “Bookshots”–books of 150 pages or less. http://bit.ly/2FR20nY

March 18, 2018 at 10:53 am

This post has it all… well, except a great salsa verde recipe. Thanks Anne. I shared this with my FB group of dead serious writers.

March 18, 2018 at 11:35 am

EJ–I hope the serious writers don’t mind my jokes. 🙂 Sorry about the salsa verde recipe. Maybe next time…

March 18, 2018 at 11:08 am

Thanks for researching and posting, Anne. But, I find this kind of “guideline” to be ineffably discouraging to actual writing, writers, storytellers, researchers and others who write to create rather than to sell, or who wish to do both without sacrificing either.

Arbitrary word counts (which is what every single one of these has to be) offend me and should give us all pause. According to whom? For what reasons? Why should we go along with this?

BTW: with the option of ebooks, publishers can’t even claim cost as the reason to force books to be shorter.

Finally, “fame” is no rationale for “earning” the “right” to have longer books and have them be acceptable. The WRITING is what should convey the meaning, and the value of the writing is what should dictate which books are “too long” or “too short.”

When editors/agents/publishers and authors stand up for each piece’s having the best format and length, acknowledging the uniqueness of each creative effort ,rather than bow to some idiotic idea of what each “genre” should “allow,” THEN we will have a book-lovers’ and book-writers’ realm worth inhabiting.

I write what my books seem to require for the story/characters to be well-presented. Standards of size should no more apply to books than to paintings, sculptures or poems.

Imagine these scenarios: — “Sorry, Michelangelo: even though this painting fits perfectly on the ceiling of the Sistine Chapel, current standards for ceiling paintings deem yours to be too large. You’ll have to eliminate some ceiling tiles. Try making God’s and Adam’s arms shorter.” Or, — “Sorry, Auguste Rodin: We like ‘The Thinker,’ but this year’s outdoor sculptures are not to exceed these dimensions: 6′ x 3′ x 4′ , by city of Paris decree, but your sculpture’s are 6′ 2″ x 3′ 3″ x 4′ 7″. Oh, you made it ‘life-sized’? Well, use a smaller model. Scrape some bronze off, all right?” Or, — “Sorry, Judy Chicago, but the Brooklyn Museum curators have decided that you’re only allowed to have 33 place settings for ‘The Dinner Party.’ Oh, you have 39? Well, you’ll have to disinvite some guests.”

Sure. That all makes perfect sense…about as much as allowing insurance companies to dictate eligible medical procedures and treatments.

Best to you,

Sally Ember, Ed.D. author, “The Spanners Series” (utopian sci-fi/romance in which each Volume is over 120 words) http://www.sallyember.com/Spanners

March 18, 2018 at 8:28 pm

Sally–Thanks for your input. I don’t know if you noticed that I said these are guidelines to help improve your chances of publication.

Of course you can translate the Epic of Gilgamesh into Klingon and write it in Wingdings and you could have the next Pride and Prejudice and Zombies on your hands.

But I would be lying if I didn’t point out the odds would be against you.

You need to know the rules before you can break them.

As I said these are only “guestimates” and that authors should always “check agents’ websites.”

Also, “if you’re famous (like Michelangelo, Rodin, and Judy Chicago) you can break rules with abandon.”

This is simply a list of the current standards of the business and meant to be helpful guidelines for writers who are interested in becoming professional authors. If you’re writing as a hobby, or for your own therapeutic needs, you can happily ignore it all!. 🙂

March 18, 2018 at 11:21 am

Thanks for posting this. I’ve been curious. At least I know I’m doing something right now.

March 18, 2018 at 11:37 am

Ryan–It’s always good to know you’re in line with standards in the industry, even if you’re working on your own.

I have to disagree on what to do if the book is too short. That’s the most common advice, and if you’re at 50K and have to get to 90K, you ain’t getting there by slapping in a subplot. If you’re going for indie, a novella is fine, but if you’re going for traditional publishing, you’re pretty much screwed. This was a weakness i spent years trying to fix, and beating myself over it, thinking my writing was flaws. I had trouble even getting one subplot into the story.

A better option first is to add setting and five senses into every scene. If it’s from the opinions of the character, it’s going to add characterization and keep the reader immersed. Many places don’t recommend doing it because writers do it badly, instead of trying to figure out how to do it right. I read Michael Connelly all the time, and he pulls me in with this no matter where I am in the book.

Also, a better understanding of what secondary plotlines are. Craft books generally do not describe them very well, and I suspect those writers may not understand them very well either. I just took a very eye opening course on it. As a result, I’ve come up with at least six secondary plots in my story, including two I would not have thought of as such.

March 18, 2018 at 11:45 am

Linda–I did suggest for literary books, fleshing out characters is the best way to expand a book. I’m not sure that adding a bunch of description will work for a thriller, but it can help with a literary novel.

But good subplots are the best way to flesh out a book. I do wish there was more info on subplots out there. My problem was always too many subplots. The course you took sounds great.

I think trad pub is going to be downsizing books as well. I read a Canadian writer whose trad publisher publishes her novellas. As I said in my response to Ruth, James Patterson is having a huge success with books under 150 pages. So if you’re querying right now, yes, you have to get over 50K for most genres but I think that will change.

March 18, 2018 at 11:40 am

Linda, that’s an interesting point about secondary plot lines. Maybe we can talk Anne or Ruth into writing a post about it–or maybe they’ll invite you to guest post it! I’d love to learn more about the subject.

March 18, 2018 at 1:09 pm

Tricia–We’ll have to look into that. 🙂

March 18, 2018 at 12:30 pm

I’m one of your readers who errs on the side of brevity, Anne, as you know. I adhere to Elmore Leonard’s response: “I leave out the parts I think readers will skip.” If you are going to do that, you need a LOT of plot to get to 80,000 words. More plot points, not just more description (in my opinion, and Leonard’s – grin). I think a lot of crime writers pad their novels these days. If you look at many good movies – the Great Gatsby comes to mind – they were sourced from novellas.

March 18, 2018 at 1:14 pm

Melodie–I love your short books. (I like the longer fantasy ones too) but I think your latest Goddaughter book is the future of books. It’s novella-length and just the right size to stick i a pocket and read on the bus. (In a font that is big enough to actually read.) Your publisher seems to be in the vanguard of publishing shorter books, and I’m sure the Big Five will follow eventually, especially with the huge success James Patterson is having with them.

And you’re right that it’s not just short-attention span syndrome that’s pushing this. The film industry is too. The novella is the perfect size to convert to a screenplay.

March 18, 2018 at 1:35 pm

Thanks for the kind words, Anne! I think you’ve said a bundle in the last line of your comment. We should probably all be writing screenplays if we want to be part of the future of ‘story’. 44 pages for one hour television show. 120 pages for 2 hour full length picture. Wish I had gone this route when I was a young thing 🙂

March 18, 2018 at 1:08 pm

This is so helpful! And for picture books I’ve heard they’re shying away even from 1000. I’ve heard under 500 is even better. But I’m particularly interested in this list of non-fiction. I’ve never seen word counts for nonfic before, and this is so helpful!

March 18, 2018 at 1:16 pm

Sarah–I think everything is downsizing, so those top numbers may not apply much longer for any genre.

The nonfic numbers really surprised me. I started looking when my publisher told me my ms. was too long for my Author Blog book. I had feared it was too short.

March 18, 2018 at 1:23 pm

Thank you, Anne, this is great information. I’m kind of okay with books getting a bit shorter–at least as a reader. And after having written my first novella, I find I like writing that length and plan to do more of it.

March 18, 2018 at 1:44 pm

Eve–I feel the same way as a reader. I like ones I can read in a few sittings. Congrats on your novella! I haven’t done one yet, but I want to.

It’s always good to be reminded of these. I read a lot of fantasy and yes, I love those long, long, big, heavy books. LOL

March 18, 2018 at 1:46 pm

Susan–Some agents are still willing to look at those 110K fantasy manuscripts, because they know fantasy readers love long books. But others want a standard 80-90 K for everything because they don’t want to read that much of a debut novel.

March 18, 2018 at 2:39 pm

More kismet in this post! In the past week I’ve had 4 authors, querying me for an edit, ask if their book is too long or not long enough. These are authors with a first book, who expect to self-publish.

I decided to do some research and found contemporary advice was to ‘go shorter’, so urged the 160k authors to start thinking about splitting their book, while telling the 120k authors to wait for an edit, since they just might have heavy-handed material, which could be tightened down by 20k or more.

So — really fun to hear your thoughts on this dilemma.

oyes — have encountered more novellas in the past year than in the 5 years prior, with authors apologetically noting that ‘this was all the story needed’ — and after their edit, I had to agree. Hoping publishers start to wake up to this shorty ‘trend’, cuz I don’t care whether people prefer long or short, just so they read. :O)

Thanks for sharing stuff that seems to always be ‘right in time’. Maria D’Marco

March 18, 2018 at 2:56 pm

Maria–Serendipity indeed! I think you gave them great advice.

It’s silly that novellas have been so out of favor for the past 50 years, so it’s time for them to make a comeback. Especially since they’re so perfect for adapting to film.

March 18, 2018 at 3:00 pm

The majority of my stuff clocks in at roughly 52k, give or take 2k. Very rarely do my stories get into that “rarefied” atmosphere of 70k+ words. Whenever a story of min hits that level, my first thought is “why did I pad out my story so much?”, which of course is a bunch of bull crap, but that is the end result of trying to follow the rules about word count.

I actually have a novel/novella that the reverse needs to be done, in that it clocked in at 52k, but a beta reader told me the chapters were too long, so I’ll have to spend some time turning 8 chapters into at least 15.

As a reader, I definitely balk at reading a 100k+ word tome, no matter what the genre. I’m sorry, but any book that clocks in @ 500+ pages gets the clove of garlic and the cross of silver pens thrown at it.

March 18, 2018 at 3:15 pm

G.B.–I’m reluctant to pick up a big book these days too. I’m not sure I rank them up there with vampires on the scary scale, but I know what you’re talking about. 52K would have been fine for a novel in the 1920s and 30s. I don’t know when things got so rigid about word counts. Probably the 1950s. Conformity ruled. 🙂

March 18, 2018 at 3:05 pm

Thank you, Anne. In this fast paced world, it seems that “less is more.” As for myself my nonfiction picture books all fall under 1000 words, but most fall within 500 to 700 as I am hitting the upper range of that audience. It’s a challenge to say a lot more with fewer words. I must say, however, that I find myself limiting the word length in the historical articles that I write for adults as well.

March 18, 2018 at 3:17 pm

BA–Writing picture books must be like composing a poem. Short word count takes more time.

It’s true that most news articles and features have shrunk considerably. People are on the go, reading on their phones and don’t have time to settle in for a “long read” article. Even the New Yorker has mostly short articles now.

March 18, 2018 at 4:10 pm

GREAT POST AS USUAL, ANNE! I just sent it to a friend who’s writing a self-help/memoir. Looks like she’s right on target for length. I’m looking forward to reading Mara Purl’s post next week. She’s a woman with a ton of talent and an amazing life story.

March 18, 2018 at 4:20 pm

Sandy–Good to see you here! *waves*. Self-help and memoir are much shorter than I realized, so I was glad to find this information on several agent websites.

Mara won’t be here until June. But I’m really looking forward to her post. She’s a lovely person. We got to do some readings together last September and it was great fun.

March 18, 2018 at 4:18 pm

Thanks for the information. The counts have changed down a bit since the last time I checked. My YA novel isn’t 5,000 words short anymore! Yahoo!

Oh and I love the cat sleeping on the hefty book picture!

March 18, 2018 at 4:30 pm

Christine–Yay! Of course not all agents have updated their requirements, so always check their websites before you submit.

I loved that kitty picture too. That cat looks just like my cat Marco I had back in the 80s. 🙂

March 18, 2018 at 5:35 pm

Hi Anne – I thought I’d put my 2 cents in from experience around the crime thriller genre. I’ve got 2 series building, one is crime fiction with the debut tome going out at 115K. Common critique was it was way to long. I did a sequel at 80K and it was better received as for length – content was a different matter 🙂 I also have 3 true crime books at 50K each and they seemed to hit the eBook sweet spot bang-on. But, a few regular readers told me they don’t gauge a book by the word count. As long as it keeps them in the story, then time flies and they’re happy. Now I have a historical non-fiction underway -it’s at 65K and halfway through first draft – not sure how I’m gonna cut it. Maybe I’ll just rewrite history and turn it into fiction. Thanks for the great info, as usual!

March 19, 2018 at 9:35 am

Garry–Definitely 80K is a much more popular length for fiction, as you discovered.. Nonfiction can be shorter. If you have longer nonfiction, you can always cut it into two books.

I think one factor in the change in reading habits is that percentage line at the bottom of your e-reader. If you’ve been reading for hours and that percentage doesn’t budge, you can feel sort of defeated. A big jump in the percentage gives a reader a feeling of accomplishment.

March 19, 2018 at 9:07 am

What a wonderful, helpful post – I’m definitely bookmarking it! Prior to this this, the best idea I had was “50K is a novel, epic fantasy can be longer.”

March 19, 2018 at 9:37 am

Irvin–I wrote this because so many people on Facebook seemed to be confused about lengths. 50K is considered “a novel” by the NaNoWriMo people, but most publishers want something longer for adult fiction.

March 19, 2018 at 10:45 am

Thanks for the update. There are posts with word counts out there but they are old (like 10 or more years). It’s great to have an update especially in this industry. Many of the numbers are the same but some have subtle shifts and trends are always good to know.

March 19, 2018 at 2:21 pm

My novels tend to be on the longish side, between 100 and 120K… they’re suspense, paranormal suspense and historical suspense. I’ve yet to have anyone tell me they’re too long. Personally, I hate the trend to shorter books… I love to wallow in whatever world the writer has created, and, being a fast reader, a shorter book doesn’t give me enough time in that world.

But I did split a fantasy/scifi novel into at least two, probably three volumes, after the first volume got close to 200K words and it wasn’t even half done! Yes, fantasy can handle a longer length, but 200K? No way. So, now I’m working on the third volume of what will be a trilogy… or maybe a quadrilogy… who knows? Only the writing will tell…

March 19, 2018 at 3:33 pm

Susan–Everybody has their own reading habits and of course some people will prefer the big books. My sister does. A trend is just that–a way things are leaning. But that doesn’t mean every book has to be the same. Also, you’re an established author, so these *debut* fiction guidelines don’t apply.

But when you can break that big book into three (or four or five) you not only please more people, but you make more $$. Never a bad thing. 🙂

March 19, 2018 at 9:55 pm

Great post! It’s hard to stick to the limit but sometimes you might find that the book is far better than when you had those extra bits.

March 20, 2018 at 9:18 am

MariaJohn–Yes, very often word count problems can be solved by a good editor. Writers almost always say things with more words than we have to in a first draft.

March 20, 2018 at 8:47 am

Hello Anne, I have one question: What would be the word count for creative non-fiction, Ex: a collection of essays or for a memoir? Thank you!

March 20, 2018 at 9:19 am

Nadia–I haven’t seen any word count info on collections–either of stories or essays. But since your essays form a memoir, I’d go by memoir word count guidelines.

March 20, 2018 at 11:25 am

Anne, you bring some of the most helpful information to the screen! Thank you for this post on word counts. I’ve recently switched from nonfiction/memoir to historical fiction. Found my word count limits and am happy I can write veritudinously. 🙂

March 20, 2018 at 2:21 pm

Sherrey–Good to see you here *waves*. Yes, historical fiction can still be pretty long, so have fun!

March 20, 2018 at 1:46 pm

Anne, thank you very much! I had no idea those word totals had dropped that much! I guess I need to get to work. My paranormal romance is 106,000 words. No wonder I’ve received form rejections from all the agents I’ve contacted. I need to try to cut it down to 90,000 or less. And then I need to decide whether to self publish, or try other avenues. As for your question, I wrote a romance/adult fiction novel that was originally over 300,000 words. I split into two novels and cut about 100,000 words…which really hurt. Thank you again.

March 20, 2018 at 2:25 pm

Fred–That’s the thing–a lot of agents don’t post desired word counts, but they reject if you don’t follow them. So it’s good to know the standards. Many, many agents reject on word count alone. Cutting your romance to 90K would give it a better chance.

It is wrenching to cut a big book into two or three. You always end up having to lose some of your favorite passages. Killing our darlings does hurt.

March 21, 2018 at 7:41 am

I am relieved to know that my books are in the correct word count for their genre. I did do some research on this first though. A useful post.

March 21, 2018 at 9:56 am

Robbie–It’s nice to know you’re doing it right. 🙂

April 10, 2018 at 1:16 pm

Thank you for this oh-so-helpful information!

And I’m so glad to read that many manuscripts are too long because there’s nothing I hate more than slogging through a wordy non-fiction book that over-explains a concept or idea or repeats itself over and over!

I’m writing my soon-to-be self published debut non-fiction book and have tried to find any information on appropriate word counts. I don’t want it to be too short, and I don’t want to add unnecessary fluff just to make it longer. My rough first draft is at just under 22K words, so it appears I may be right on track in the self-help/ how to genre.

April 10, 2018 at 2:22 pm

Chrysta–This information is hard to find partly because Google isn’t chronological. You get 10 year old information on the top of the SERP and have to go digging to find the current stuff. But nonfiction has shrunk by almost 50% in the last decade, so your 22K words is probably just fine. I agree that nonfic is often bloated by “fluff” and repetition, and it’s great that it’s being cut down to “just the good stuff.”

April 22, 2018 at 7:30 am

Most helpful. Thanks for that. On the subject of splitting a book, I’ve done that on twos accasions. One on my publisher’s advice and one I decided was going to be far too big. (possibly a George R.R. Martin sizes book).

April 22, 2018 at 9:26 am

V. M.–I’m glad it’s helpful. And thanks for the testimony that splitting a book works!

April 24, 2018 at 5:59 am

Thanks for this helpful information, Anne. 🙂 — Suzanne

April 30, 2018 at 9:25 pm

I don’t see my comment!

March 28, 2019 at 1:19 pm

Thank you for helpful information I really enjoyed reading this article even though it wasn’t so satisfying for my Ms. But, as you had written, I’ll just kill off more victims 😉

March 28, 2019 at 2:58 pm

Lenka–I think it’s much easier to make a short book longer than the other way around. In fact, it can be fun. Good luck with it!

March 28, 2019 at 4:42 pm

Lenka—here’s Ruth butting in and politely disagreeing. Please see my post about the power of the delete button and Stephen King’s 10% rule. http://annerallen.com/2019/01/stephen-kings-10-rule/

Hope Anne and I have helped.

March 28, 2019 at 4:51 pm

Ruth–Lenka’s problem is a book that’s too short. That’s why adding another subplot/dead body helps. And it can be fun for the writer. Readers do have expectations about novel length. But that doesn’t mean Lenka can’t publish her book as a novella!

November 2, 2021 at 2:27 pm

In many cases, adding “five senses to each scene” is only going to read like the filler it is. You need “more story”, not “more words”. The story is there to write. Reveal more character with more dialogue, add interesting or amusing incidental action, give interesting information about your setting (within sensible limits), and yes, add some description here and there WHERE it benefits the story, not just a word count.

Plus, add more story. It doesn’t have to be subplots … expand your character’s journey. But it has to serve the story and be interesting, and after all, we’re writers … that’s what we’re supposed to be good at.

November 2, 2021 at 4:12 pm

Brent–Great tips on keeping your word count down. Newbie writers often write more description than necessary because they’ve been taught to add “all the senses” to every scene. But as you say, story trumps everything else. If it gets in the way of the story, cut it.

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How Should One Read a Book?

Read as if one were writing it.

Jean-Baptiste-Camille Corot, Young Girl Reading , c. 1868. Courtesy National Gallery of Art, Washington.

At this late hour of the world’s history, books are to be found in almost every room of the house—in the nursery, in the drawing room, in the dining room, in the kitchen. But in some houses they have become such a company that they have to be accommodated with a room of their own—a reading room, a library, a study. Let us imagine that we are now in such a room; that it is a sunny room, with windows opening on a garden, so that we can hear the trees rustling, the gardener talking, the donkey braying, the old women gossiping at the pump—and all the ordinary processes of life pursuing the casual irregular way which they have pursued these many hundreds of years. As casually, as persistently, books have been coming together on the shelves. Novels, poems, histories, memoirs, dictionaries, maps, directories; black letter books and brand new books; books in French and Greek and Latin; of all shapes and sizes and values, bought for purposes of research, bought to amuse a railway journey, bought by miscellaneous beings, of one temperament and another, serious and frivolous, men of action and men of letters.

Now, one may well ask oneself, strolling into such a room as this, how am I to read these books? What is the right way to set about it? They are so many and so various. My appetite is so fitful and so capricious. What am I to do to get the utmost possible pleasure out of them? And is it pleasure, or profit, or what is it that I should seek? I will lay before you some of the thoughts that have come to me on such an occasion as this. But you will notice the note of interrogation at the end of my title. One may think about reading as much as one chooses, but no one is going to lay down laws about it. Here in this room, if nowhere else, we breathe the air of freedom. Here simple and learned, man and woman are alike. For though reading seems so simple—a mere matter of knowing the alphabet—it is indeed so difficult that it is doubtful whether anybody knows anything about it. Paris is the capital of France; King John signed the Magna Charta; those are facts; those can be taught; but how are we to teach people so to read “Paradise Lost” as to see that it is a great poem, or “Tess of the D’Urbervilles” so as to see that it is a good novel? How are we to learn the art of reading for ourselves? Without attempting to lay down laws upon a subject that has not been legalized, I will make a few suggestions, which may serve to show you how not to read, or to stimulate you to think out better methods of your own.

And directly we begin to ask how should one read a book we are faced by the fact that books differ; there are poems, novels, biographies on the book shelf there; each differs from the other as a tiger differs from a tortoise, a tortoise from an elephant. Our attitude must always be changing, it is clear. From different books we must ask different qualities. Simple as this sounds, people are always behaving as if all books were of the same species—as if there were only tortoises or nothing but tigers. It makes them furious to find a novelist bringing Queen Victoria to the throne six months before her time; they will praise a poet enthusiastically for teaching them that a violet has four petals and a daisy almost invariably ten. You will save a great deal of time and temper better kept for worthier objects if you will try to make out before you begin to read what qualities you expect of a novelist, what of a poet, what of a biographer. The tortoise is bald and shiny; the tiger has a thick coat of yellow fur. So books too differ: one has its fur, the other has its baldness.

To be able to read books without reading them, to skip and saunter, to suspend judgment, to lounge and loaf down the alleys and bye-streets of letters is the best way of rejuvenating one’s own creative power.

Yes; but for all that the problem is not so simple in a library as at the Zoölogical Gardens. Books have a great deal in common; they are always overflowing their boundaries; they are always breeding new species from unexpected matches among themselves. It is difficult to know how to approach them, to which species each belongs. But if we remember, as we turn to the bookcase, that each of these books was written by a pen which, consciously or unconsciously, tried to trace out a design, avoiding this, accepting that, adventuring the other; if we try to follow the writer in his experiment from the first word to the last, without imposing our design upon him, then we shall have a good chance of getting hold of the right end of the string.

To read a book well, one should read it as if one were writing it. Begin not by sitting on the bench among the judges but by standing in the dock with the criminal. Be his fellow worker, become his accomplice. Even, if you wish merely to read books, begin by writing them. For this certainly is true—one cannot write the most ordinary little story, attempt to describe the simplest event—meeting a beggar, shall we say, in the street, without coming up against difficulties that the greatest of novelists have had to face. In order that we may realize, however briefly and crudely, the main divisions into which novelists group themselves, let us imagine how differently Defoe, Jane Austen, and Thomas Hardy would describe the same incident—this meeting a beggar in the street. Defoe is a master of narrative. His prime effort will be to reduce the beggar’s story to perfect order and simplicity. This happened first, that next, the other thing third. He will put in nothing, however attractive, that will tire the reader unnecessarily, or divert his attention from what he wishes him to know. He will also make us believe, since he is a master, not of romance or of comedy, but of narrative, that everything that happened is true. He will be extremely precise therefore. This happened, as he tells us on the first pages of” Robinson Crusoe,” on the first of September. More subtly and artfully, he will hypnotize us into a state of belief by dropping out casually some little unnecessary fact—for instance, “my father called me one morning into his chamber, where he was confined by the gout.” His father’s gout is not necessary to the story, but it is necessary to the truth of the story, for it is thus that anybody who is speaking the truth adds some small irrelevant detail without thinking. Further, he will choose a type of sentence which is flowing but not too full, exact but not epigrammatic. His aim will be to present the thing itself without distortion from his own angle of vision. He will meet the subject face to face, four-square, without turning aside for a moment to point out that this was tragic, or that beautiful; and his aim is perfectly achieved.

But let us not for a moment confuse it with Jane Austen’s aim. Had she met a beggar woman, no doubt she would have been interested in the beggar’s story. But she would have seen at once that for her purposes the whole incident must be transformed. Streets and the open air and adventures mean nothing to her, artistically. It is character that interests her. She would at once make the beggar into a comfortable elderly man of the upper middle classes, seated by his fireside at his ease. Then, instead of plunging into the story vigorously and veraciously, she will write a few paragraphs of accurate and artfully seasoned introduction, summing up the circumstances and sketching the character of the gentleman she wishes us to know. “Matrimony as the origin of change was always disagreeable” to Mr. Woodhouse, she says. Almost immediately, she thinks it well to let us see that her words are corroborated by Mr. Woodhouse himself. We hear him talking. “Poor Miss Taylor!—I wish she were here again. What a pity it is that Mr. Weston ever thought of her.” And when Mr. Woodhouse has talked enough to reveal himself from the inside, she then thinks it time to let us see him through his daughter’s eyes. “You got Hannah that good place. Nobody thought of Hannah till you mentioned her.” Thus she shows us Emma flattering him and humoring him. Finally then, we have Mr. Woodhouse’s character seen from three different points of view at once; as he sees himself; as his daughter sees him; and as he is seen by the marvellous eye of that invisible lady Jane Austen herself. All three meet in one, and thus we can pass round her characters free, apparently, from any guidance but our own.

Now let Thomas Hardy choose the same theme—a beggar met in the street—and at once two great changes will be visible. The street will be transformed into a vast and sombre heath; the man or woman will take on some of the size and indistinctness of a statue. Further, the relations of this human being will not be towards other people, but towards the heath, towards man as law-giver, towards those powers which are in control of man’s destiny. Once more our perspective will be completely changed. All the qualities which were admirable in “Robinson Crusoe,” admirable in “Emma,” will be neglected or absent. The direct literal statement of Defoe is gone. There is none of the clear, exact brilliance of Jane Austen. Indeed, if we come to Hardy from one of these great writers we shall exclaim at first that he is “melodramatic” or “unreal” compared with them. But we should bethink us that there are at least two sides to the human soul; the light side and the dark side. In company, the light side of the mind is exposed; in solitude, the dark. Both are equally real, equally important. But a novelist will always tend to expose one rather than the other; and Hardy, who is a novelist of the dark side, will contrive that no clear, steady light falls upon his people’s faces, that they are not closely observed in drawing rooms, that they come in contact with moors, sheep, the sky and the stars, and in their solitude are directly at the mercy of the gods. If Jane Austen’s characters are real in the drawing room, they would not exist at all upon the top of Stonehenge. Feeble and clumsy in drawing rooms, Hardy’s people are large-limbed and vigorous out of doors. To achieve his purpose Hardy is neither literal and four-square like Defoe, nor deft and pointed like Jane Austen. He is cumbrous, involved, metaphorical. Where Jane Austen describes manners, he describes nature. Where she is matter of fact, he is romantic and poetical. As both are great artists, each is careful to observe the laws of his own perspective, and will not be found confusing us (as so many lesser writers do) by introducing two different kinds of reality into the same book.

Yet it is very difficult not to wish them less scrupulous. Frequent are the complaints that Jane Austen is too prosaic, Thomas Hardy too melodramatic. And we have to remind ourselves that it is necessary to approach every writer differently in order to get from him all he can give us. We have to remember that it is one of the qualities of greatness that it brings heaven and earth and human nature into conformity with its own vision. It is by reason of this masterliness of theirs, this uncompromising idiosyncrasy, that great writers often require us to make heroic efforts in order to read them rightly. They bend us and break us. To go from Jane Austen to Hardy, from Peacock to Trollope, from Scott to Meredith, from Richardson to Kipling, is to be wrenched and distorted, thrown this way and then that. Besides, everyone is born with a natural bias of his own in one direction rather than in another. He instinctively accepts Hardy’s vision rather than Jane Austen’s, and, reading with the current and not against it, is carried on easily and swiftly by the impetus of his own bent to the heart of his author’s genius. But then Jane Austen is repulsive to him. He can scarcely stagger through the desert of her novels.

Sometimes this natural antagonism is too great to be overcome, but trial is always worth making. For these difficult and inaccessible books, with all their preliminary harshness, often yield the richest fruits in the end, and so curiously is the brain compounded that while tracts of literature repel at one season, they are appetizing and essential at another.

If, then, this is true—that books are of very different types, and that to read them rightly we have to bend our imaginations powerfully, first one way, then another—it is clear that reading is one of the most arduous and exhausting of occupations. Often the pages fly before us and we seem, so keen is our interest, to be living and not even holding the volume in our hands. But the more exciting the book, the more danger we run of over-reading. The symptoms are familiar. Suddenly the book becomes dull as ditchwater and heavy as lead. We yawn and stretch and cannot attend. The highest flights of Shakespeare and Milton become intolerable. And we say to ourselves—is Keats a fool or am I?—a painful question, a question, moreover, that need not be asked if we realized how great a part the art of not reading plays in the art of reading. To be able to read books without reading them, to skip and saunter, to suspend judgment, to lounge and loaf down the alleys and bye-streets of letters is the best way of rejuvenating one’s own creative power. All biographies and memoirs, all the hybrid books which are largely made up of facts, serve to restore to us the power of reading real books—that is to say, works of pure imagination. That they serve also to impart knowledge and to improve the mind is true and important, but if we are considering how to read books for pleasure, not how to provide an adequate pension for one’s widow, this other property of theirs is even more valuable and important. But here again one should know what one is after. One is after rest, and fun, and oddity, and some stimulus to one’s own jaded creative power. One has left one’s bare and angular tower and is strolling along the street looking in at the open windows. After solitude and concentration, the open air, the sight of other people absorbed in innumerable activities, comes upon us with an indescribable fascination.

The windows of the houses are open; the blinds are drawn up. One can see the whole household without their knowing that they are being seen. One can see them sitting round the dinner table, talking, reading, playing games. Sometimes they seem to be quarrelling—but what about? Or they are laughing—but what is the joke? Down in the basement the cook is reading a newspaper aloud, while the housemaid is making a piece of toast; in comes the kitchen maid and they all start talking at the same moment—but what are they saying? Upstairs a girl is dressing to go to a party. But where is she going? There is an old lady sitting at her bedroom window with some kind of wool work in her hand and a fine green parrot in a cage beside her. And what is she thinking? All this life has somehow come together; there is a reason for it; a coherency in it, could one but seize it. The biographer answers the innumerable questions which we ask as we stand outside on the pavement looking in at the open window. Indeed there is nothing more interesting than to pick one’s way about among these vast depositories of facts, to make up the lives of men and women, to create their complex minds and households from the extraordinary abundance and litter and confusion of matter which lies strewn about. A thimble, a skull, a pair of scissors, a sheaf of sonnets, are given us, and we have to create, to combine, to put these incongruous things together. There is, too, a quality in facts, an emotion which comes from knowing that men and women actually did and suffered these things, which only the greatest novelists can surpass. Captain Scott, starving and freezing to death in the snow, affects us as deeply as any made-up story of adventure by Conrad or Defoe; but it affects us differently. The biography differs from the novel. To ask a biographer to give us the same kind of pleasure that we get from a novelist is to misuse and misread him. Directly he says “John Jones was born at five-thirty in the morning of August 13, I 862,” he has committed himself, focussed his lens upon fact, and if he then begins to romance, the perspective becomes blurred, we grow suspicious, and our faith in his integrity as a writer is destroyed. In the same way fact destroys fiction. If Thackeray, for example, had quoted an actual newspaper account of the Battle of Waterloo in “Vanity Fair,” the whole fabric of his story would have been destroyed, as a stone destroys a bubble.

But it is undoubted that these hybrid books, these warehouses and depositories of facts, play a great part in resting the brain and restoring its zest of imagination. The work of building up a life for oneself from skulls, thimbles, scissors, and sonnets stimulates our interest in creation and rouses our wish to see the work beautifully and powerfully done by a Flaubert or a Tolstoi. Moreover, however interesting facts may be, they are an inferior form of fiction, and gradually we become impatient of their weakness and diffuseness, of their compromises and evasions, of the slovenly sentences which they make for themselves, and are eager to revive ourselves with the greater intensity and truth of fiction.

It is necessary to have in hand an immense reserve of imaginative energy in order to attack the steeps of poetry. Here are none of those gradual introductions, those resemblances to the familiar world of daily life with which the novelist entices us into his world of imagination. All is violent, opposite, unrelated. But various causes, such as bad books, the worry of carrying on life efficiently, the intermittent but powerful shocks dealt us by beauty, and the incalculable impulses of our own minds and bodies frequently put us into that state of mind in which poetry is a necessity. The sight of a crocus in a garden will suddenly bring to mind all the spring days that have ever been. One then desires the general, not the particular; the whole, not the detail; to turn uppermost the dark side of the mind; to be in contact with silence, solitude, and all men and women and not this particular Richard, or that particular Anne. Metaphors are then more expressive than plain statements.

Thus in order to read poetry rightly, one must be in a rash, an extreme, a generous state of mind in which many of the supports and comforts of literature are done without. Its power of make-believe, its representative power, is dispensed with in favor of its extremities and extravagances. The representation is often at a very far remove from the thing represented, so that we have to use all our energies of mind to grasp the relation between, for example, the song of a nightingale and the image and ideas which that song stirs in the mind. Thus reading poetry often seems a state of rhapsody in which rhyme and metre and sound stir the mind as wine and dance stir the body, and we read on, understanding with the senses, not with the intellect, in a state of intoxication. Yet all this intoxication and intensity of delight depend upon the exactitude and truth of the image, on its being the counterpart of the reality within. Remote and extravagant as some of Shakespeare’s images seem, far-fetched and ethereal as some of Keats’s, at the moment of reading they seem the cap and culmination of the thought; its final expression. But it is useless to labor the matter in cold blood. Anyone who has read a poem with pleasure will remember the sudden conviction, the sudden recollection (for it seems sometimes as if we were about to say, or had in some previous existence already said, what Shakespeare is actually now saying), which accompany the reading of poetry, and give it its exaltation and intensity. But such reading is attended, whether consciously or unconsciously, with the utmost stretch and vigilance of the faculties, of the reason no less than of the imagination. We are always verifying the poet’s statements, making a flying comparison, to the best of our powers, between the beauty he makes outside and the beauty we are aware of within. For the humblest among us is endowed with the power of comparison. The simplest (provided he loves reading) has that already within him to which he makes what is given him—by poet or novelist—correspond.

With that saying, of course, the cat is out of the bag. For this admission that we can compare, discriminate, brings us to this further point. Reading is not merely sympathizing and understanding; it is also criticizing and judging. Hitherto our endeavor has been to read books as a writer writes them. We have been trying to understand, to appreciate, to interpret, to sympathize. But now, when the book is finished, the reader must leave the dock and mount the bench. He must cease to be the friend; he must become the judge. And this is no mere figure of speech. The mind seems (“seems,” for all is obscure that takes place in the mind) to go through two processes in reading. One might be called the actual reading; the other the after reading. During the actual reading, when we hold the book in our hands, there are incessant distractions and interruptions. New impressions are always completing or cancelling the old. One’s judgment is suspended, for one does not know what is coming next. Surprise, admiration, boredom, interest, succeed each other in such quick succession that when, at last, the end is reached, one is for the most part in a state of complete bewilderment. Is it good? or bad? What kind of book is it? How good a book is it? The friction of reading and the emotion of reading beat up too much dust to let us find clear answers to these questions. If we are asked our opinion, we cannot give it. Parts of the book seem to have sunk away, others to be starting out in undue prominence. Then perhaps it is better to take up some different pursuit—to walk, to talk, to dig, to listen to music. The book upon which we have spent so much time and thought fades entirely out of sight. But suddenly, as one is picking a snail from a rose, tying a shoe, perhaps, doing something distant and different, the whole book floats to the top of the mind complete. Some process seems to have been finished without one’s being aware of it. The different details which have accumulated in reading assemble themselves in their proper places. The book takes on a definite shape; it becomes a castle, a cowshed, a gothic ruin, as the case may be. Now one can think of the book as a whole, and the book as a whole is different, and gives one a different emotion, from the book received currently in several different parts. Its symmetry and proportion, its confusion and distortion can cause great delight or great disgust apart from the pleasure given by each detail as it is separately realized. Holding this complete shape in mind it now becomes necessary to arrive at some opinion of the book’s merits, for though it is possible to receive the greatest pleasure and excitement from the first process, the actual reading, though this is of the utmost importance, it is not so profound or so lasting as the pleasure we get when the second process—the after reading—is finished, and we hold the book clear, secure, and (to the best of our powers) complete in our minds.

But how, we may ask, are we to decide any of these questions—is it good, or is it bad?—how good is it, how bad is it? Not much help can be looked for from outside. Critics abound; criticisms pullulate; but minds differ too much to admit of close correspondence in matters of detail, and nothing is more disastrous than to crush one’s own foot into another person’s shoe. When we want to decide a particular case, we can best help ourselves, not by reading criticism, but by realizing our own impression as acutely as possible and referring this to the judgments which we have gradually formulated in the past. There they hang in the wardrobe of our mind—the shapes of the books we have read, as we hung them up and put them away when we had done with them. If we have just read “Clarissa Harlowe,” for example, let us see how it shows up against the shape of “Anna Karenina.” At once the outlines of the two books are cut out against each other as a house with its chimneys bristling and its gables sloping is cut out against a harvest moon. At once Richardson’s qualities—his verbosity, his obliqueness—are contrasted with Tolstoi’s brevity and directness. And what is the reason of this difference in their approach? And how does our emotion at different crises of the two books compare? And what must we attribute to the eighteenth century, and what to Russia and the translator? But the questions which suggest themselves are innumerable. They ramify infinitely, and many of them are apparently irrelevant. Yet it is by asking them and pursuing the answers as far as we can go that we arrive at our standard of values, and decide in the end that the book we have just read is of this kind or of that, has merit in that degree or in this. And it is now, when we have kept closely to our own impression, formulated independently our own judgment, that we can most profitably help ourselves to the judgments of the great critics—Dryden, Johnson, and the rest. It is when we can best defend our own opinions that we get most from theirs.

So, then—to sum up the different points we have reached in this essay—have we found any answer to our question, how should we read a book? Clearly, no answer that will do for everyone; but perhaps a few suggestions. In the first place, a good reader will give the writer the benefit of every doubt; the help of all his imagination; will follow as closely, interpret as intelligently as he can. In the next place, he will judge with the utmost severity. Every book, he will remember, has the right to be judged by the best of its kind. He will be adventurous, broad in his choice, true to his own instincts, yet ready to consider those of other people. This is an outline which can be filled, in at taste and at leisure, but to read something after this fashion is to be a reader whom writers respect. It is by the means of such readers that masterpieces are helped into the world.

If the moralists ask us how we can justify our love of reading, we can make use of some such excuse as this. But if we are honest, we know that no such excuse is needed. It is true that we get nothing whatsoever except pleasure from reading; it is true that the wisest of us is unable to say what that pleasure may be. But that pleasure—mysterious, unknown, useless as it is—is enough. That pleasure is so curious, so complex, so immensely fertilizing to the mind of anyone who enjoys it, and so wide in its effects, that it would not be in the least surprising to discover, on the day of judgment when secrets are revealed and the obscure is made plain, that the reason why we have grown from pigs to men and women, and come out from our caves, and dropped our bows and arrows, and sat round the fire and talked and drunk and made merry and given to the poor and helped the sick and made pavements and houses and erected some sort of shelter and society on the waste of the world, is nothing but this: we have loved reading.

Louise Glück’s Late Style

The critic as friend, rachel cusk, you might also like, september twilight, the tolstoyans, thirty clocks strike the hour, new perspectives, enduring writing.

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Essay and dissertation writing skills

Planning your essay

Writing your introduction

Structuring your essay

• Writing essays in science subjects
• Brief video guides to support essay planning and writing
• Writing extended essays and dissertations
• Planning your dissertation writing time

Structuring your dissertation

• Top tips for writing longer pieces of work

Advice on planning and writing essays and dissertations

University essays differ from school essays in that they are less concerned with what you know and more concerned with how you construct an argument to answer the question. This means that the starting point for writing a strong essay is to first unpick the question and to then use this to plan your essay before you start putting pen to paper (or finger to keyboard).

A really good starting point for you are these short, downloadable Tips for Successful Essay Writing and Answering the Question resources. Both resources will help you to plan your essay, as well as giving you guidance on how to distinguish between different sorts of essay questions. 

You may find it helpful to watch this seven-minute video on six tips for essay writing which outlines how to interpret essay questions, as well as giving advice on planning and structuring your writing:

Different disciplines will have different expectations for essay structure and you should always refer to your Faculty or Department student handbook or course Canvas site for more specific guidance.

However, broadly speaking, all essays share the following features:

Essays need an introduction to establish and focus the parameters of the discussion that will follow. You may find it helpful to divide the introduction into areas to demonstrate your breadth and engagement with the essay question. You might define specific terms in the introduction to show your engagement with the essay question; for example, ‘This is a large topic which has been variously discussed by many scientists and commentators. The principal tension is between the views of X and Y who define the main issues as…’ Breadth might be demonstrated by showing the range of viewpoints from which the essay question could be considered; for example, ‘A variety of factors including economic, social and political, influence A and B. This essay will focus on the social and economic aspects, with particular emphasis on…..’

Watch this two-minute video to learn more about how to plan and structure an introduction:

The main body of the essay should elaborate on the issues raised in the introduction and develop an argument(s) that answers the question. It should consist of a number of self-contained paragraphs each of which makes a specific point and provides some form of evidence to support the argument being made. Remember that a clear argument requires that each paragraph explicitly relates back to the essay question or the developing argument.

• Conclusion: An essay should end with a conclusion that reiterates the argument in light of the evidence you have provided; you shouldn’t use the conclusion to introduce new information.
• References: You need to include references to the materials you’ve used to write your essay. These might be in the form of footnotes, in-text citations, or a bibliography at the end. Different systems exist for citing references and different disciplines will use various approaches to citation. Ask your tutor which method(s) you should be using for your essay and also consult your Department or Faculty webpages for specific guidance in your discipline. 

Essay writing in science subjects

If you are writing an essay for a science subject you may need to consider additional areas, such as how to present data or diagrams. This five-minute video gives you some advice on how to approach your reading list, planning which information to include in your answer and how to write for your scientific audience – the video is available here:

A PDF providing further guidance on writing science essays for tutorials is available to download.

Short videos to support your essay writing skills

There are many other resources at Oxford that can help support your essay writing skills and if you are short on time, the Oxford Study Skills Centre has produced a number of short (2-minute) videos covering different aspects of essay writing, including:

• Approaching different types of essay questions  
• Structuring your essay  
• Writing an introduction  
• Making use of evidence in your essay writing  
• Writing your conclusion

Extended essays and dissertations

Longer pieces of writing like extended essays and dissertations may seem like quite a challenge from your regular essay writing. The important point is to start with a plan and to focus on what the question is asking. A PDF providing further guidance on planning Humanities and Social Science dissertations is available to download.

Planning your time effectively

Try not to leave the writing until close to your deadline, instead start as soon as you have some ideas to put down onto paper. Your early drafts may never end up in the final work, but the work of committing your ideas to paper helps to formulate not only your ideas, but the method of structuring your writing to read well and conclude firmly.

Although many students and tutors will say that the introduction is often written last, it is a good idea to begin to think about what will go into it early on. For example, the first draft of your introduction should set out your argument, the information you have, and your methods, and it should give a structure to the chapters and sections you will write. Your introduction will probably change as time goes on but it will stand as a guide to your entire extended essay or dissertation and it will help you to keep focused.

The structure of  extended essays or dissertations will vary depending on the question and discipline, but may include some or all of the following:

• The background information to - and context for - your research. This often takes the form of a literature review.
• Explanation of the focus of your work.
• Explanation of the value of this work to scholarship on the topic.
• List of the aims and objectives of the work and also the issues which will not be covered because they are outside its scope.

The main body of your extended essay or dissertation will probably include your methodology, the results of research, and your argument(s) based on your findings.

The conclusion is to summarise the value your research has added to the topic, and any further lines of research you would undertake given more time or resources. 

Tips on writing longer pieces of work

Approaching each chapter of a dissertation as a shorter essay can make the task of writing a dissertation seem less overwhelming. Each chapter will have an introduction, a main body where the argument is developed and substantiated with evidence, and a conclusion to tie things together. Unlike in a regular essay, chapter conclusions may also introduce the chapter that will follow, indicating how the chapters are connected to one another and how the argument will develop through your dissertation.

For further guidance, watch this two-minute video on writing longer pieces of work . 

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• Example of a great essay | Explanations, tips & tricks

Example of a Great Essay | Explanations, Tips & Tricks

Published on February 9, 2015 by Shane Bryson . Revised on July 23, 2023 by Shona McCombes.

This example guides you through the structure of an essay. It shows how to build an effective introduction , focused paragraphs , clear transitions between ideas, and a strong conclusion .

Each paragraph addresses a single central point, introduced by a topic sentence , and each point is directly related to the thesis statement .

As you read, hover over the highlighted parts to learn what they do and why they work.

Instantly correct all language mistakes in your text

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Table of contents

Other interesting articles, frequently asked questions about writing an essay, an appeal to the senses: the development of the braille system in nineteenth-century france.

The invention of Braille was a major turning point in the history of disability. The writing system of raised dots used by visually impaired people was developed by Louis Braille in nineteenth-century France. In a society that did not value disabled people in general, blindness was particularly stigmatized, and lack of access to reading and writing was a significant barrier to social participation. The idea of tactile reading was not entirely new, but existing methods based on sighted systems were difficult to learn and use. As the first writing system designed for blind people’s needs, Braille was a groundbreaking new accessibility tool. It not only provided practical benefits, but also helped change the cultural status of blindness. This essay begins by discussing the situation of blind people in nineteenth-century Europe. It then describes the invention of Braille and the gradual process of its acceptance within blind education. Subsequently, it explores the wide-ranging effects of this invention on blind people’s social and cultural lives.

Lack of access to reading and writing put blind people at a serious disadvantage in nineteenth-century society. Text was one of the primary methods through which people engaged with culture, communicated with others, and accessed information; without a well-developed reading system that did not rely on sight, blind people were excluded from social participation (Weygand, 2009). While disabled people in general suffered from discrimination, blindness was widely viewed as the worst disability, and it was commonly believed that blind people were incapable of pursuing a profession or improving themselves through culture (Weygand, 2009). This demonstrates the importance of reading and writing to social status at the time: without access to text, it was considered impossible to fully participate in society. Blind people were excluded from the sighted world, but also entirely dependent on sighted people for information and education.

In France, debates about how to deal with disability led to the adoption of different strategies over time. While people with temporary difficulties were able to access public welfare, the most common response to people with long-term disabilities, such as hearing or vision loss, was to group them together in institutions (Tombs, 1996). At first, a joint institute for the blind and deaf was created, and although the partnership was motivated more by financial considerations than by the well-being of the residents, the institute aimed to help people develop skills valuable to society (Weygand, 2009). Eventually blind institutions were separated from deaf institutions, and the focus shifted towards education of the blind, as was the case for the Royal Institute for Blind Youth, which Louis Braille attended (Jimenez et al, 2009). The growing acknowledgement of the uniqueness of different disabilities led to more targeted education strategies, fostering an environment in which the benefits of a specifically blind education could be more widely recognized.

Several different systems of tactile reading can be seen as forerunners to the method Louis Braille developed, but these systems were all developed based on the sighted system. The Royal Institute for Blind Youth in Paris taught the students to read embossed roman letters, a method created by the school’s founder, Valentin Hauy (Jimenez et al., 2009). Reading this way proved to be a rather arduous task, as the letters were difficult to distinguish by touch. The embossed letter method was based on the reading system of sighted people, with minimal adaptation for those with vision loss. As a result, this method did not gain significant success among blind students.

Louis Braille was bound to be influenced by his school’s founder, but the most influential pre-Braille tactile reading system was Charles Barbier’s night writing. A soldier in Napoleon’s army, Barbier developed a system in 1819 that used 12 dots with a five line musical staff (Kersten, 1997). His intention was to develop a system that would allow the military to communicate at night without the need for light (Herron, 2009). The code developed by Barbier was phonetic (Jimenez et al., 2009); in other words, the code was designed for sighted people and was based on the sounds of words, not on an actual alphabet. Barbier discovered that variants of raised dots within a square were the easiest method of reading by touch (Jimenez et al., 2009). This system proved effective for the transmission of short messages between military personnel, but the symbols were too large for the fingertip, greatly reducing the speed at which a message could be read (Herron, 2009). For this reason, it was unsuitable for daily use and was not widely adopted in the blind community.

Nevertheless, Barbier’s military dot system was more efficient than Hauy’s embossed letters, and it provided the framework within which Louis Braille developed his method. Barbier’s system, with its dashes and dots, could form over 4000 combinations (Jimenez et al., 2009). Compared to the 26 letters of the Latin alphabet, this was an absurdly high number. Braille kept the raised dot form, but developed a more manageable system that would reflect the sighted alphabet. He replaced Barbier’s dashes and dots with just six dots in a rectangular configuration (Jimenez et al., 2009). The result was that the blind population in France had a tactile reading system using dots (like Barbier’s) that was based on the structure of the sighted alphabet (like Hauy’s); crucially, this system was the first developed specifically for the purposes of the blind.

While the Braille system gained immediate popularity with the blind students at the Institute in Paris, it had to gain acceptance among the sighted before its adoption throughout France. This support was necessary because sighted teachers and leaders had ultimate control over the propagation of Braille resources. Many of the teachers at the Royal Institute for Blind Youth resisted learning Braille’s system because they found the tactile method of reading difficult to learn (Bullock & Galst, 2009). This resistance was symptomatic of the prevalent attitude that the blind population had to adapt to the sighted world rather than develop their own tools and methods. Over time, however, with the increasing impetus to make social contribution possible for all, teachers began to appreciate the usefulness of Braille’s system (Bullock & Galst, 2009), realizing that access to reading could help improve the productivity and integration of people with vision loss. It took approximately 30 years, but the French government eventually approved the Braille system, and it was established throughout the country (Bullock & Galst, 2009).

Although Blind people remained marginalized throughout the nineteenth century, the Braille system granted them growing opportunities for social participation. Most obviously, Braille allowed people with vision loss to read the same alphabet used by sighted people (Bullock & Galst, 2009), allowing them to participate in certain cultural experiences previously unavailable to them. Written works, such as books and poetry, had previously been inaccessible to the blind population without the aid of a reader, limiting their autonomy. As books began to be distributed in Braille, this barrier was reduced, enabling people with vision loss to access information autonomously. The closing of the gap between the abilities of blind and the sighted contributed to a gradual shift in blind people’s status, lessening the cultural perception of the blind as essentially different and facilitating greater social integration.

The Braille system also had important cultural effects beyond the sphere of written culture. Its invention later led to the development of a music notation system for the blind, although Louis Braille did not develop this system himself (Jimenez, et al., 2009). This development helped remove a cultural obstacle that had been introduced by the popularization of written musical notation in the early 1500s. While music had previously been an arena in which the blind could participate on equal footing, the transition from memory-based performance to notation-based performance meant that blind musicians were no longer able to compete with sighted musicians (Kersten, 1997). As a result, a tactile musical notation system became necessary for professional equality between blind and sighted musicians (Kersten, 1997).

Braille paved the way for dramatic cultural changes in the way blind people were treated and the opportunities available to them. Louis Braille’s innovation was to reimagine existing reading systems from a blind perspective, and the success of this invention required sighted teachers to adapt to their students’ reality instead of the other way around. In this sense, Braille helped drive broader social changes in the status of blindness. New accessibility tools provide practical advantages to those who need them, but they can also change the perspectives and attitudes of those who do not.

Bullock, J. D., & Galst, J. M. (2009). The Story of Louis Braille. Archives of Ophthalmology , 127(11), 1532. https://​doi.org/10.1001/​archophthalmol.2009.286.

Herron, M. (2009, May 6). Blind visionary. Retrieved from https://​eandt.theiet.org/​content/​articles/2009/05/​blind-visionary/.

Jiménez, J., Olea, J., Torres, J., Alonso, I., Harder, D., & Fischer, K. (2009). Biography of Louis Braille and Invention of the Braille Alphabet. Survey of Ophthalmology , 54(1), 142–149. https://​doi.org/10.1016/​j.survophthal.2008.10.006.

Kersten, F.G. (1997). The history and development of Braille music methodology. The Bulletin of Historical Research in Music Education , 18(2). Retrieved from https://​www.jstor.org/​stable/40214926.

Mellor, C.M. (2006). Louis Braille: A touch of genius . Boston: National Braille Press.

Tombs, R. (1996). France: 1814-1914 . London: Pearson Education Ltd.

Weygand, Z. (2009). The blind in French society from the Middle Ages to the century of Louis Braille . Stanford: Stanford University Press.

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!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy

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An essay is a focused piece of writing that explains, argues, describes, or narrates.

In high school, you may have to write many different types of essays to develop your writing skills.

Academic essays at college level are usually argumentative : you develop a clear thesis about your topic and make a case for your position using evidence, analysis and interpretation.

The structure of an essay is divided into an introduction that presents your topic and thesis statement , a body containing your in-depth analysis and arguments, and a conclusion wrapping up your ideas.

The structure of the body is flexible, but you should always spend some time thinking about how you can organize your essay to best serve your ideas.

Your essay introduction should include three main things, in this order:

• An opening hook to catch the reader’s attention.
• Relevant background information that the reader needs to know.
• A thesis statement that presents your main point or argument.

The length of each part depends on the length and complexity of your essay .

A thesis statement is a sentence that sums up the central point of your paper or essay . Everything else you write should relate to this key idea.

A topic sentence is a sentence that expresses the main point of a paragraph . Everything else in the paragraph should relate to the topic sentence.

At college level, you must properly cite your sources in all essays , research papers , and other academic texts (except exams and in-class exercises).

Add a citation whenever you quote , paraphrase , or summarize information or ideas from a source. You should also give full source details in a bibliography or reference list at the end of your text.

The exact format of your citations depends on which citation style you are instructed to use. The most common styles are APA , MLA , and Chicago .

Cite this Scribbr article

If you want to cite this source, you can copy and paste the citation or click the “Cite this Scribbr article” button to automatically add the citation to our free Citation Generator.

Bryson, S. (2023, July 23). Example of a Great Essay | Explanations, Tips & Tricks. Scribbr. Retrieved September 5, 2024, from https://www.scribbr.com/academic-essay/example-essay-structure/

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Shane Bryson

Shane finished his master's degree in English literature in 2013 and has been working as a writing tutor and editor since 2009. He began proofreading and editing essays with Scribbr in early summer, 2014.

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How Long Is an Essay? The Ultimate Essay Length Guide

It’s safe to say that most students struggle with the word limit within an essay. Sometimes, it’s hard to find ideas for a text and meet the word requirement for every part of the paper. With so many factors influencing essay length, it’s easy to get confused.

Luckily, our custom-writing team has your back. In this article, our custom-writing experts will answer all your questions regarding essay length. We will also help you write papers with an ideal number of words!

📜 Is Essay Length Important?

📏 essay parts: recommended length.

• 🤔 How to Make Essays Shorter or Longer
• 📑 Essay Length & Formatting
• ❓ Different Academic Levels FAQ
• 📚 Essay Length: Different Types
• ⭐ Other Aspects
• 📝 Essay Examples

🔍 References

Often, the phrase “word limit” causes panic among students. After all, if an essay is too long or too short, your grade will be lowered. However, in reality, there’s nothing to worry about. When it comes to words, limitations are beneficial for both the students and the professors.

Let’s see what exactly it means.

Many people believe that the longer an essay is, the better. However, according to Frontiers, research shows that it’s a bias that couldn’t be further from the truth. A perfect-length paper is one that allows students to express their ideas and showcase their knowledge fully while keeping it clean and simple.

What Influences Essay Length

Various factors determine the length of an essay. Here are the most important ones:

Let’s start with the essentials. Usually, assignment length is given as a number of words rather than pages. Unless your supervisor or instructor mentions any specific limitations, it’s acceptable to be 10% below or above the word limit.

It’s also worth knowing the 80/20 rule . According to it, the body should constitute 80% of the text, while the intro and the conclusion take up the remaining 20%.

Keep reading to learn more about the recommended length of each essay part. The main numbers are shown in the table below:

How Long Should an Introduction Be?

An introduction is the first section and the face of your essay. For that reason, it needs to be compelling and well-thought-out. Usually, it consists of 3 to 5 sentences or 50 to 80 words .

An introduction must have a hook, some background information, and a thesis statement. While the attention grabber and the thesis are usually brief, you may need 2 to 3 sentences for the background. To avoid going overboard, try to stay on topic and don’t add any filler.

How Long Is a Body Paragraph in an Essay?

The length of a body paragraph may vary. Sometimes, it can be limited to a single sentence. In other cases, it may take up a whole page. Usually, it’s recommended to have between 80 and 200 words (5-8 sentences) per body paragraph.

Since the paper’s body contains the most information, it’s necessary to explain and support your ideas properly. That’s why it’s no big deal if your body paragraphs go slightly over the word limit.

How Many Body Paragraphs Should Be in an Essay?

Like the word count, the number of paragraphs is determined by the type of paper and its topic. The minimum is 1. Generally, however, the body consists of 3-5 paragraphs , 1 for each argument.

To improve your paper’s structure, ensure that there are as many paragraphs as there are points in your thesis statement. Each one should have a purpose and support your arguments. If there’s any fluff, it’s better to get rid of it.

How Long Should a Conclusion Be?

Like the introduction, the conclusion consists of 50-80 words . It’s essential to keep it simple and only mention the central ideas. A weak concluding sentence may affect the reader’s understanding of the topic and spoil the overall impression of your paper.

🤔 How to Make Essays Shorter or Longer: Best Tips

Undoubtedly the essay’s content is more important than the number of words you use. But there are times when students go more than 10-15% below or over the limit. Is there a solution to this problem?

Yes, there is! In this section, we will share the most useful tips to help you stay on point with your paper’s word count.

How to Make Essays Longer

Since having enough words is essential for a good grade, we’ve collected the best tips that can help you lengthen your essay without teachers noticing:

• Use relevant quotations.  You don’t need to litter your essay with citations, but using them whenever appropriate is a great idea. For instance, if you’re working on a book analysis, referencing a couple of direct quotes from the source text will make your essay more credible and increase the word count.

• Give examples.  Go through the claims in your paper and provide additional evidence where possible. It will make your essay longer and more informative.

• Use transitional expressions.  Adding transition words and phrases is a natural way of increasing the number of words. It will also improve your essay’s readability. 

• Add more references.  Providing references is always a good idea when writing a formal essay. That way, you will increase the number of words and make your paper more credible.

• Work on your descriptions.  If you struggle to develop new ideas, go over what you’ve already written and consider adding some descriptive words. It’s a great idea for creative essays to include more imagery. 

How to Shorten an Essay

Another struggle of academic writing is cutting down the number of words in your essay to meet a set limit. We are here to tell you that it’s not that hard. Writing straightforwardly and keeping your sentences short is a key to concise content. Here are several strategies you may use to tighten a lengthy essay:

• Choose the active voice.  It takes up less space than passive voice. Using it also makes your writing more professional and compelling.

• Remove needless transitions.  Transitions can indeed maintain the flow of the paper. But some transitional phrases can be easily removed.

• Get rid of unnecessary adverbs and adjectives.  Some students tend to overuse adjectives and adverbs. It adds wordiness to their writing.

• Avoid running starts.  Some students like to start their sentences with long phrases like: “there are,” “it is believed,” or “the fact that.” Getting rid of them makes texts much more concise.

• Delete “that.”  In most cases, the word “that” can often be easily removed from texts.

Another cool trick is to use our summarizing tool as essay shortener. Try it out!

📑 How Long Is an Essay Depending on Formatting?

As we mentioned earlier, the essay’s length is usually limited by the number of words. But sometimes, a teacher may ask you to write a specific number of pages. This is trickier because the amount of text you can place on the page depends on the formatting. By using the font size and spacing properly, it’s possible to make the paper visually longer or shorter. Let’s discuss it in more detail.

Essay Spacing: How Does It Affect the Length?

• Adjusting the spacing between lines.  Try to make the changes as slight as possible. For instance, if you were asked to double-space the paper, use 2.1 or 2.2 spacing instead. Another option is to slightly extend spaces between paragraphs.
• Extending the margin size.  You can increase the right and bottom margins by a quarter to make very subtle changes in length. For example, if the margins are 1 inch , you can set them at 1.25 inches instead. 
• Increasing the spacing between characters.  It is less noticeable than the line spacing. Still, try not to overdo it and keep the numbers between 1.2 and 1.5 . 
• Adjusting the footer.  Add a footer with page numbers to stretch the bottom margin even further.
• Lengthening the header.  You can extend your header by adding your name, e-mail address, or other relevant information. Another option is double-spacing it.

Length of an Essay: Font and Size

• Using the right type of font.  If your instructor didn’t specify which font you should use, go for the bigger ones. We suggest Arial, Bangla Sangam MN, Cambria, or Quicksand. They will make your text look longer without being too on the nose.  
• Using a bigger font size.  This is another technique that can come in handy. However, be careful and don’t increase your font by more than 0.1-0.5 pt.  
• Increasing the size of periods and commas.   This is one of the less noticeable tricks you can use. For instance, if your paper’s font is 12 pt. , increase it to 14 pt. only for punctuation marks. Italicizing periods and commas will also add several lines of length to your essay. 

What to Do if There Are No Length Guidelines

Sometimes a teacher sets no word limit for a written work. What to do in that case? Well, first, you can ask your professor to confirm if they have simply forgotten to mention it. But if that’s not the case, here are a couple of helpful solutions:

• Think of the paragraph number.  Sometimes, you may be given the number of paragraphs instead of words. In that case, you can decide on the number of words depending on how many paragraphs you have. 
• Think about the topic’s complexity.  The length of your paper is also directly dependent on the theme. If the topic is simple, 4-5 paragraphs will be enough. A more complex issue may require an in-depth explanation, so your essay can be 6-8 paragraphs long.

❓ Essay Length for Different Academic Levels FAQ

The length of the elementary school essay is usually short. Usually, a paper needs to have around 3-5 paragraphs, with 4-5 sentences per paragraph. Primary school essays can be 1-2 paragraphs long.

The word limit for a middle school essay is usually between 300 to 1000 words. The most common essay length is 500 words, which is about 5 paragraphs. However, it may differ from school to school.

The length of the high school essay may differ depending on the school and the complexity of the task itself. Usually, however, a paper can be between 300 to 1000 words long.

The length of the undergraduate college essay often falls within the range of 1500 to 2100 words. It translates into roughly 5-7 pages. 5 pages is the most common essay length at this level.

When it comes to the graduate school admission essay, the word limit is usually between 500 and 1000 words. It’s possible to go slightly over or below the set limit; however, it’s best to stick to the requirements as close as possible.

📚 How Long Should an Essay Be: Different Types

Now, let’s talk about different types of essays. How long should they be? Keep reading to learn about the length of college essays, short and extended ones, scholarship essays, and research papers.

How Long Is a College Essay?

When it comes to a college essay, it’s more important to stick to the word limit than with any other paper. Some teachers may refuse to read it unless it meets all the requirements.

The shortest limit for a college essay is about 250 words which is the shortest length of a Common App personal statement. It’s also rare to see a good college essay with over 650 words . So, an average piece usually has between 150 and 650 words ; you can go over or below the limit by 50.

How Long Is a Paragraph in College Essays?

A college essay usually consists of 4-5 paragraphs . One paragraph takes about 1/3 of the page, which is roughly 5 sentences . Each sentence corresponds with one of the following components:

• Topic sentence.
• Explanation.
• Transitions.

College Essay Length Requirements: Top 5 Schools

To understand the requirements for a college application essay even better, take a look at the table below. It showcases the top 5 schools and their length criteria for personal statements. Keep it in mind when writing your college essay:

How Long Is a Short Essay?

A short essay is usually 500 words long. Using 12pt Times New Roman font with standard margins and double spacing should result in about 2 pages of text.

Extended Essay Length

An extended essay is different from a short or a standard one. It requires extensive research and thorough explanation. That’s why the upper limit for this kind of essay is 4000 words . In this case, a typical essay length is 3500 words or 18 paragraphs .

Scholarship Essay Length

Generally, scholarship papers have a limit of 500 words , which is 1 page in length. Most scholarship programs provide additional requirements that indicate the minimum number of words or pages. If there are no set limitations, you can stick to the limit.

How Long Is a Research Paper?

Typically, a research paper is between 4000 and 6000 words long. Sometimes, there are shorter papers, which have around 2000 words, or in-depth ones with over 10000 words.

⭐ Other Aspects of Essay Length

When it comes to essay length, many different aspects come into play. Here, we’ve gathered all the essential information regarding an essay’s number of pages, paragraphs, words, and references.

How Many Paragraphs Are in an Essay?

Sometimes, it is more convenient to count paragraphs rather than words. Let’s now figure out how many paragraphs are in essays of different lengths. You may also check out the examples to see what such an essay looks like:

How to Count Paragraphs in an Essay Based on Word Count

You can also count the number of body paragraphs for your essay using the formula below:

Number of body paragraphs (average) = (TWC – TWC*0.16)/100

• TWC – total word count
• 0.16 – an average percentage of total word count for introduction and conclusion
• 100 – an average number of words per paragraph

How Many Pages Are in an Essay?

The number of pages in your essay may vary from subject to subject. But it’s still possible to determine the number of pages based on word count. Check out the numbers below to see the conversions with bonus examples:

You can also use a specialized calculator such as Word Counter to determine a number of pages in your essay.

What Does an Essay Look Like when Typed?

You might be wondering: what do essays of different lengths look like when typed? Well, here’s the table where you can find out the metrics for single- and double-spaced papers.

How Many Pages Are in a Handwritten Essay?

In case you need to turn in a handwritten paper, you should check out the table below.

Counting Words in a Handwritten Essay

If you don’t have enough time to count the words in your handwritten essay one by one, here’s what you can do:

• Count how many words there are in one line. Take the first and last lines and a line in the middle of a page. Let’s say there are 15, 14, and 15 words in them. Then, the average number of words per line is 15.
• Next, count how many lines there are on one page. Let’s say there are 17 lines on a page.
• Take the number of words per line and multiply it by the number of lines per page. In our case, we multiply 15 by 17. So, there are 255 words per page on average.
• Finally, multiply the number of words per page by the number of pages. If your essay has 3 pages, it is approximately 765 words long.

How Long Does it Take to Write an Essay?

It is crucial to know how long writing will take you, especially if you are working on an exam essay or just short on time. Note that you need to consider the time for typing and researching necessary to complete a piece. Research time may vary. Usually, it’s 1-2 hours for 200-250 words .

Below, we’ve gathered the average writing time for average and slower writing speed:

And here are the results in pages:

How Many References Does an Essay Need?

Another essential part of any composition is the reference list. Different academic levels require different references. You’ll find out how many of them should be in your paper in the table below!

📝 Essay Examples: Different Length

Finally, we’ve gathered some excellent sample essays of different lengths. Make sure to check them out!

We also recommend you check out our free essay samples sorted by pages:

• 1-Page Essay Examples
• 2-Page Essay Examples
• 3-Page Essay Examples
• 4-Page Essay Examples
• 5-Page Essay Examples
• 10-Page Essay Examples
• 20-Page Essay Examples
• 30-Page Essay Examples
• 40-Page Essay Examples
• 50-Page Essay Examples

Now you know all about essay length, word limits, and ways to lengthen or shorten your text. If you know other interesting tricks, make sure to share them in a comment! Good luck with your writing assignments!

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• Word Limits and Assignment Length: Massey University
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• 21 Helpful and Easy Tips to Make an Essay Longer: Seventeen
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How To Write A Rough Draft: Step-by-step Guide, Examples & Tips

• September 6, 2024
• Freelancing Tips

Table of Contents Hide

What is a rough draft , why do people use a rough draft , what to include in a rough draft, how long should a rough draft be , 1. start with brainstorming, 2. outline the ideas, 3. start writing, 4. take a short break, 5. write with your audience in mind, 1. find a quiet environment, 2. start in the middle, 3. do not worry about making mistakes, 4. refer to your outline when you get stuck , does a rough draft need citations , faqs on how to write a rough draft, we also recommend.

Do you think there is a piece of writing that comes to being without a draft?

Writing a rough draft is like taking the first step in bringing your ideas to life. It’s the part of the writing process where you don’t worry about perfection — you just get your thoughts down on paper. Whether you’re working on an essay, story, or any other type of writing, the rough draft is your chance to explore your ideas and figure out how to organize them.

In this guide, we’ll go through simple steps to help you write a rough draft, with examples and tips to make it easier. Remember, it doesn’t have to be perfect — it just has to be written!

A rough draft, often known as a first draft, is an incomplete piece of writing that represents your first attempt to put all of your ideas down on paper. It serves as a basis for the final product.

A rough draft is never meant to be perfect; it has grammatical errors, bad word choices, and structural difficulties. The goal is to complete a substantial amount of your project and then worry about resolving issues afterward.

The rough draft is the third step in the suggested writing process (out of five). It’s often the longest and most difficult phase, encompassing the majority of the actual “writing.”

READ ALSO: How to Write a Ballad in 17 Steps: Rules, Tips & Questions

Writing is challenging. Even if you have a gift for words, you are not immune to the issues that plague all writers, such as deadline fear, creative blocks, or a variety of psychological insecurities. When approached with the appropriate perspective, the rough draft can assist overcome these challenges by relieving stress. Remind yourself that it doesn’t need to be good, just be.

The final purpose of your rough draft is to get your ideas down and offer you something to work with. Finding the right term and arranging pieces in the ideal order is much easier after you’ve completed a first draft, although it can be difficult and time-consuming without one.

A rough draft also allows you to identify trouble areas that outlining and brainstorming alone cannot. Certain problems, such as organizational issues or plot holes, become apparent only after they are written down.

A rough draft is essentially a raw version of the complete assignment. So, everything you’d include in the final draft should go into the first draft.

Of course, the rough draft is only for the writer, so no one will stop you if you need to skip some sections or gloss over others—but you’ll have to address any shortcuts leading up to the final draft. 

SEE ALSO: How To Write A Counterclaim Like a Pro in Argumentative Writing

A rough draft should be about as long as the final version. Many writers tend to overdo their initial drafts. This can really work to your advantage, providing you more usable material to pick from. When editing, prioritize retaining the strongest sections of the rough copy. 

How To Write A Rough Draft

Writing a rough draft is an essential step in the writing process. It allows you to organize your thoughts, develop your ideas, and create a foundation for your final piece.

Here’s a guide on how to write an effective rough draft:

Check out the 16 Essential Tools for Writers | Elevate Your Writing Craft in 2024

For beginners, your first draft is not the first step. Beginning with the brainstorming process is critical for gathering and organizing all of the stuff you want to include in your writing, whether it’s innovative ideas for fiction or supporting evidence for nonfiction.

You will come up with new ideas while writing the rough draft, but it is always a good idea to gather as many as possible ahead of time.

After brainstorming, the outline process is critical for structuring your content and arranging everything logically. Consider your outline to be the rough draft for your rough draft or a plan for where everything belongs.

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After outlining your ideas, you can begin your first draft with confidence. The most important tip for writing rough drafts is to give yourself permission to write imperfectly. As we’ve said, the goal of a rough draft is to get all your ideas down, not to write everything perfectly on your first try.

Instead of nitpicking, just focus on solidifying your raw ideas. Follow your outline as best you can, but also keep an open mind for new ideas—writing the first draft can be full of inspiration! 

Take small breaks to clear your head. This tip may be especially handy if you’re writing a lengthy report or essay. Still, if you’re antsy or can’t concentrate, take a pause to relax your thoughts, but don’t let it last too long.

If you take too much time away from your essay, you may have difficulty starting over. You may forget important details or lose momentum. Set an alarm to limit your break time, and then return to your desk to write.

To write successfully, you must keep your purpose and audience in mind. If your goal is to persuade, you will provide your facts and details most logically and convincingly possible for the specific audience you are addressing.

If your target audience is logical, points that employ reason, facts, documented knowledge, and the like will provide the persuasion to which those readers respond best.

Some writers find it useful to retain the purpose and audience at the top of each page, emphasized in some fashion, to remind them of the goals of each point.

READ ALSO: How To Write a Statement of Interest with Examples: Rules, Tips & Template

Tips On How To Write A Rough Draft

Here are a few tips to follow to write a rough draft:

Find a quiet area, the library, or at home to block out any distractions. Turn off or mute your cellphone. If you’re easily sidetracked by computer games, turn off your wifi and use pen and paper instead. Creating a peaceful writing space will allow you to focus on your rough copy.

You can also ensure that the room is adjusted to an appropriate temperature for sitting and writing. You might also play some classical or jazz music in the background to build the mood and bring a snack to your writing space so you can chew on something as you write.

It can be difficult to come up with a brilliant opening paragraph or a killer first line. Instead, begin at the center of the essay or story.

Perhaps you begin by addressing the body portions of your essay first, or you begin with your protagonist’s moment of complexity. Starting in the center can make it easier to get words onto the page.

You can also write the conclusion of the essay before writing the beginning. Many writing guides recommend writing your first paragraph last, as this allows you to build a fantastic introduction based on the entire work.

A rough draft is not the time to try to be perfect. Get messy during the rough draft process and be okay if you make mistakes or if the draft is not completely there yet. Write through clunky phrases and awkward sentences until you get into a flow. You can then address these issues once you have finished the rough draft.

You should also try not to read over what you are writing as you get into the flow. Do not examine every word before moving on to the next word or edit as you go. Instead, focus on moving forward with the rough draft and getting your ideas down on the page.

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If you find you get stuck during the rough draft process, you can refer back to your outline to remember which content you are including at a certain point in the plot or in the body section of your essay.

You may want to take breaks if you find you are getting writer’s block. Going for a walk, taking a nap, or even doing the dishes can help you focus on something else and give your brain a rest. You can then start writing again with a fresh approach after your break.

We recommend it. It’s useful to have all the material you need for your final draft already in your first draft, including citations, so you can gauge the piece as a whole. 

Writing a rough draft allows you to flesh out your ideas, identify gaps in your argument, and organize your thoughts without worrying about grammar, spelling, or final presentation.

If you get stuck, skip the part that’s causing difficulty and move on to another section. You can always return to the challenging section once you’ve gained more clarity.

No, you don’t have to write in order. Focus on sections where you feel confident first. You can come back to the introduction or conclusion later.

• grammarly.com – Tips for Writing a Powerful Rough Draft
• wikihow.com – How to Write a Rough Draft
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