mla style narrative essay

Writing A Narrative Essay

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• What is an Narrative Essay?
• Choosing a Topic
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Formatting a Narrative Essay

When written in story format, the Narrative essay must include all of the key components of a good story: plot, setting, character, conflict, and theme and be written in a standard 5-paragraph essay format

A Narrative should include the following:

Plot:  The plot is the beginning, middle, and end of a story. It’s the connecting of ideas to make a clear and understandable narrative. Narratives are usually written in chronological order from beginning to end.

Setting: is where the narrative takes place, the characters actions, and the situation of the narrative.

Characters: people, animals, or objects that interact and push the story forward.  Typically, there are minor characters and main characters. 

Climax:  This is the turning point in the Narrative—the point of the highest tension and conflict. 

Conflict:   the challenge main characters need to solve to achieve their goals.

Theme: Purpose of the Narrative, the main question asked in the Narrative

Resolution:  Where you’ll give the answer to your story’s main question, thus resolving the conflict and bringing your story to a satisfying close

There are three main components to the structure of a narrative essay. They are: the introduction, the body and the conclusion.

Introduction:

Draw the reader in with a hook statement that grabs the readers attention. Ask a rhetorical question or make a statement about the topic of your story. Point out how the story relates to you. May state the moral of the story.

3 main body paragraphs:

1: setup the story, characters, background.

2: tell the story up to the climax. The heart of the story

3: finish the story. the resolution

Conclusion:  Your conclusion paragraph is where you wrap up the whole essay. Restate the point of your essay. You may want to leave reader with an open question about the topic.

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Home / Guides / Citation Guides / MLA Format / How to Cite an Essay in MLA

How to Cite an Essay in MLA

The guidelines for citing an essay in MLA format are similar to those for citing a chapter in a book. Include the author of the essay, the title of the essay, the name of the collection if the essay belongs to one, the editor of the collection or other contributors, the publication information, and the page number(s).

Citing an Essay

Mla essay citation structure.

Last, First M. “Essay Title.” Collection Title, edited by First M. Last, Publisher, year published, page numbers. Website Title , URL (if applicable).

MLA Essay Citation Example

Gupta, Sanjay. “Balancing and Checking.” Essays on Modern Democracy, edited by Bob Towsky, Brook Stone Publishers, 1996, pp. 36-48. Essay Database, www . databaseforessays.org/modern/modern-democracy.

MLA Essay In-text Citation Structure

(Last Name Page #)

MLA Essay In-text Citation Example

Click here to cite an essay via an EasyBib citation form.

MLA Formatting Guide

MLA Formatting

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• View MLA Guide

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• Website (no author)
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To cite your sources in an essay in MLA style, you need to have basic information including the author’s name(s), chapter title, book title, editor(s), publication year, publisher, and page numbers. The templates for in-text citations and a works-cited-list entry for essay sources and some examples are given below:

In-text citation template and example:

For citations in prose, use the first name and surname of the author on the first occurrence. For subsequent citations, use only the surname(s). In parenthetical citations, always use only the surname of the author(s).

Citation in prose:

First mention: Annette Wheeler Cafarelli

Subsequent occurrences: Wheeler Cafarelli

Parenthetical:

….(Wheeler Cafarelli).

Works-cited-list entry template and example:

The title of the chapter is enclosed in double quotation marks and uses title case. The book or collection title is given in italics and uses title case.

Surname, First Name. “Title of the Chapter.” Title of the Book , edited by Editor(s) Name, Publisher, Publication Year, page range.

Cafarelli, Annette Wheeler. “Rousseau and British Romanticism: Women and British Romanticism.” Cultural Interactions in the Romantic Age: Critical Essays in Comparative Literature , edited by Gregory Maertz. State U of New York P, 1998, pp. 125–56.

To cite an essay in MLA style, you need to have basic information including the author(s), the essay title, the book title, editor(s), publication year, publisher, and page numbers. The templates for citations in prose, parenthetical citations, and works-cited-list entries for an essay by multiple authors, and some examples, are given below:

For citations in prose, use the first name and surname of the author (e.g., Mary Strine).

For sources with two authors, use both full author names in prose (e.g., Mary Strine and Beth Radick).

For sources with three or more authors, use the first name and surname of the first author followed by “and others” or “and colleagues” (e.g., Mary Strine and others). In subsequent citations, use only the surname of the first author followed by “and others” or “and colleagues” (e.g., Strine and others).

In parenthetical citations, use only the author’s surname. For sources with two authors, use two surnames (e.g., Strine and Radick). For sources with three or more author names, use the first author’s surname followed by “et al.”

First mention: Mary Strine…

Subsequent mention: Strine…

First mention: Mary Strine and Beth Radick…

Subsequent mention: Strine and Radick…

First mention: Mary Strine and colleagues …. or Mary Strine and others

Subsequent occurrences: Strine and colleagues …. or Strine and others

…. (Strine).

….(Strine and Radick).

….(Strine et al.).

The title of the essay is enclosed in double quotation marks and uses title case. The book or collection title is given in italics and uses title case.

Surname, First Name, et al. “Title of the Essay.” Title of the Book , edited by Editor(s) Name, Publisher, Publication Year, page range.

Strine, Mary M., et al. “Research in Interpretation and Performance Studies: Trends, Issues, Priorities.” Speech Communication: Essays to Commemorate the 75th Anniversary of the Speech Communication Association , edited by Gerald M. Phillips and Julia T. Wood, Southern Illinois UP, 1990, pp. 181–204.

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Using “I” in Academic Writing

Traditionally, some fields have frowned on the use of the first-person singular in an academic essay and others have encouraged that use, and both the frowning and the encouraging persist today—and there are good reasons for both positions (see “Should I”).

I recommend that you not look on the question of using “I” in an academic paper as a matter of a rule to follow, as part of a political agenda (see webb), or even as the need to create a strategy to avoid falling into Scylla-or-Charybdis error. Let the first-person singular be, instead, a tool that you take out when you think it’s needed and that you leave in the toolbox when you think it’s not.

Examples of When “I” May Be Needed

• You are narrating how you made a discovery, and the process of your discovering is important or at the very least entertaining.
• You are describing how you teach something and how your students have responded or respond.
• You disagree with another scholar and want to stress that you are not waving the banner of absolute truth.
• You need “I” for rhetorical effect, to be clear, simple, or direct.

Examples of When “I” Should Be Given a Rest

• It’s off-putting to readers, generally, when “I” appears too often. You may not feel one bit modest, but remember the advice of Benjamin Franklin, still excellent, on the wisdom of preserving the semblance of modesty when your purpose is to convince others.
• You are the author of your paper, so if an opinion is expressed in it, it is usually clear that this opinion is yours. You don’t have to add a phrase like, “I believe” or “it seems to me.”

Works Cited

Franklin, Benjamin. The Autobiography of Benjamin Franklin . Project Gutenberg , 28 Dec. 2006, www.gutenberg.org/app/uploads/sites/3/20203/20203-h/20203-h.htm#I.

“Should I Use “I”?” The Writing Center at UNC—Chapel Hill , writingcenter.unc.edu/handouts/should-i-use-i/.

webb, Christine. “The Use of the First Person in Academic Writing: Objectivity, Language, and Gatekeeping.” ResearchGate , July 1992, doi: 10.1111/j.1365-2648.1992.tb01974.x.

J.S.Beniwal 05 August 2017 AT 09:08 AM

I have borrowed MLA only yesterday, did my MAEnglish in May 2017.MLA is of immense help for scholars.An overview of the book really enlightened​ me.I should have read it at bachelor's degree level.

Your e-mail address will not be published

Dr. Raymond Harter 25 September 2017 AT 02:09 PM

I discourage the use of "I" in essays for undergraduates to reinforce a conversational tone and to "self-recognize" the writer as an authority or at least a thorough researcher. Writing a play is different than an essay with a purpose.

Osayimwense Osa 22 March 2023 AT 05:03 PM

When a student or writer is strongly and passionately interested in his or her stance and argument to persuade his or her audience, the use of personal pronoun srenghtens his or her passion for the subject. This passion should be clear in his/her expression. However, I encourage the use of the first-person, I, sparingly -- only when and where absolutely necessary.

Eleanor 25 March 2023 AT 04:03 PM

I once had a student use the word "eye" when writing about how to use pronouns. Her peers did not catch it. I made comments, but I think she never understood what eye was saying!

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Crafting an MLA-Formatted Exploration: Deciphering the Complexity of Contemporary Narratives

This essay about decoding contemporary narratives through MLA format explores the intricate layers of modern storytelling. It emphasizes precision in analysis, recognizing the diversity of narrative forms and the active role of readers in constructing meaning. Through an interdisciplinary lens, it illuminates how these narratives reflect and shape societal complexities. The essay underscores the importance of embracing diverse interpretations and the transformative power of literature in provoking reflection and understanding.

How it works

In the dynamic realm of literature, contemporary narratives emerge as enigmatic puzzles, inviting us to unravel their multifaceted layers and uncover their profound messages. Guided by the principles of MLA format, we embark on an odyssey to traverse the complexities inherent in these narratives, venturing into uncharted territories of analysis and interpretation.

At the core of any MLA-formatted expedition lies an unwavering commitment to precision. From meticulously crafted citations to the cohesive structure of the paper, every element must adhere diligently to the standards set forth by the Modern Language Association.

This dedication to accuracy serves as the foundation of our endeavor, ensuring that our exploration is not only academically rigorous but also intellectually robust.

Essential to our journey is the recognition of the diverse spectrum of contemporary narratives that populate the literary landscape. From sprawling novels to concise vignettes, from experimental prose to multimedia storytelling, the diversity is boundless. Each narrative form presents its own unique challenges and opportunities, necessitating an adaptable and nuanced analytical approach. Whether unraveling the complexities of a fragmented narrative or decoding the symbolism woven into a visual narrative, our methodology remains rooted in the principles of close textual analysis and critical inquiry.

A defining characteristic of contemporary narratives is their ability to reflect the complexities of the modern human experience. No longer confined to linear structures or traditional storytelling conventions, these narratives embrace ambiguity, nonlinear timelines, and intricate narrative structures. They compel us to grapple with existential questions and societal issues, prompting introspection and contemplation. As we navigate these narrative landscapes, we are reminded of literature’s profound capacity to both mirror and interrogate the world around us.

Central to our exploration is the acknowledgment of the active role played by the reader in the construction of meaning. Drawing upon poststructuralist insights, we understand that meaning is not inherent within the text but is rather co-constructed through the interaction between reader and text. This recognition demands a willingness to entertain diverse interpretations and embrace the multiplicity of meanings that a text can evoke. Whether analyzing the interplay of language and image in a graphic narrative or deconstructing the narrative voice in a postmodern novel, we remain attuned to the fluidity and plurality of meaning.

As we embark on our journey, we embrace the interdisciplinary nature of contemporary narrative studies. Drawing insights from literary theory, cultural studies, and media analysis, we enrich our understanding of these texts and situate them within broader cultural, historical, and socio-political contexts. This interdisciplinary approach allows us to uncover connections and patterns that might otherwise remain obscured, offering new insights into the ways in which contemporary narratives shape and are shaped by the world around us.

In conclusion, crafting an MLA-approved journey into the realm of contemporary narratives requires a steadfast commitment to precision, an openness to diversity, and an interdisciplinary approach to analysis. By delving deep into the complexities of these texts, we uncover the rich tapestry of meaning that lies beneath the surface, gaining fresh perspectives on the ways in which literature reflects and refracts the human experience. As we venture forth into this intellectual frontier, let us remain ever mindful of the transformative power of storytelling and its capacity to inspire empathy, understanding, and change.

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PapersOwl.com. (2024). Crafting an MLA-Formatted Exploration: Deciphering the Complexity of Contemporary Narratives . [Online]. Available at: https://papersowl.com/examples/crafting-an-mla-formatted-exploration-deciphering-the-complexity-of-contemporary-narratives/ [Accessed: 8-Jun-2024]

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Home — Essay Samples — Literature — Ernest Hemingway — Illusions of Love and Reality in Hemingway’s “A Very Short Story”

Illusions of Love and Reality in Hemingway's "A Very Short Story"

• Categories: Ernest Hemingway Symbolism

About this sample

Words: 773 |

Published: Jun 6, 2024

Words: 773 | Pages: 2 | 4 min read

Table of contents

Introduction, narrative technique, body paragraph 2: themes of love and disillusionment, body paragraph 3: symbolism and imagery.

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MLA Formatting Quotations

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When you directly quote the works of others in your paper, you will format quotations differently depending on their length. Below are some basic guidelines for incorporating quotations into your paper. Please note that all pages in MLA should be double-spaced .

Short quotations

To indicate short quotations (four typed lines or fewer of prose or three lines of verse) in your text, enclose the quotation within double quotation marks. Provide the author and specific page number (in the case of verse, provide line numbers) in the in-text citation, and include a complete reference on the Works Cited page. Punctuation marks such as periods, commas, and semicolons should appear after the parenthetical citation.

Question marks and exclamation points should appear within the quotation marks if they are a part of the quoted passage, but after the parenthetical citation if they are a part of your text.

For example, when quoting short passages of prose, use the following examples:

When using short (fewer than three lines of verse) quotations from poetry, mark breaks in verse with a slash, ( / ), at the end of each line of verse (a space should precede and follow the slash). If a stanza break occurs during the quotation, use a double slash ( // ).

Long quotations

For quotations that are more than four lines of prose or three lines of verse, place quotations in a free-standing block of text and omit quotation marks. Start the quotation on a new line, with the entire quote indented 1/2   inch  from the left margin while maintaining double-spacing. Your parenthetical citation should come  after the closing punctuation mark . When quoting verse, maintain original line breaks. (You should maintain double-spacing throughout your essay.)

For example, when citing more than four lines of prose, use the following examples :

Nelly Dean treats Heathcliff poorly and dehumanizes him throughout her narration: They entirely refused to have it in bed with them, or even in their room, and I had no more sense, so, I put it on the landing of the stairs, hoping it would be gone on the morrow. By chance, or else attracted by hearing his voice, it crept to Mr. Earnshaw's door, and there he found it on quitting his chamber. Inquiries were made as to how it got there; I was obliged to confess, and in recompense for my cowardice and inhumanity was sent out of the house. (Bronte 78)

When citing long sections of poetry (four lines of verse or more), keep formatting as close to the original as possible.

In his poem "My Papa's Waltz," Theodore Roethke explores his childhood with his father:

The whiskey on your breath Could make a small boy dizzy; But I hung on like death: Such waltzing was not easy. We Romped until the pans Slid from the kitchen shelf; My mother's countenance Could not unfrown itself. (qtd. in Shrodes, Finestone, Shugrue 202)

When citing two or more paragraphs, use block quotation format, even if the passage from the paragraphs is less than four lines. If you cite more than one paragraph, the first line of the second paragraph should be indented an extra 1/4 inch to denote a new paragraph:

In "American Origins of the Writing-across-the-Curriculum Movement," David Russell argues,

Writing has been an issue in American secondary and higher education since papers and examinations came into wide use in the 1870s, eventually driving out formal recitation and oral examination. . . .

From its birth in the late nineteenth century, progressive education has wrestled with the conflict within industrial society between pressure to increase specialization of knowledge and of professional work (upholding disciplinary standards) and pressure to integrate more fully an ever-widening number of citizens into intellectually meaningful activity within mass society (promoting social equity). . . . (3)

Adding or omitting words in quotations

If you add a word or words in a quotation, you should put brackets around the words to indicate that they are not part of the original text:

If you omit a word or words from a quotation, you should indicate the deleted word or words by using ellipses, which are three periods ( . . . ) preceded and followed by a space. For example:

Please note that brackets are not needed around ellipses unless they would add clarity.

When omitting words from poetry quotations, use a standard three-period ellipses; however, when omitting one or more full lines of poetry, space several periods to about the length of a complete line in the poem:

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Hemingway's A Farewell to Arms: THERE'S STILL TIME TO SUBMIT!

For  Critical Insights  volume under contract:

Ernest Hemingway’s  A Farewell to Arms

DEADLINE FOR PROPOSALS: JUNE 30

We seek submissions for a  Critical Insights  volume, under contract with Salem Press, on Hemingway’s 1929 novel,  A Farewell to Arms —praised as “one of Hemingway’s best literary works.” This first-person wartime narrative follows incidents in the life of American Lieutenant Frederick Henry volunteering as an ambulance corpsman in the Italian army and his love affair with nurse Catherine Barkley. The five-part novel was alternatingly deemed “pornographic,” “offensive,” and “brilliant,” and was subjected to censorship and banning while being hailed as “the premier American war novel of World War I.”

Submissions should be representative of current critical discourse about the novel and conceptually  within reach of current students at the secondary and undergraduate levels . Essays that attempt to articulate the tension between the very real controversies and the beauties of the wartime novel will be appreciated, as well as those that compare his work to other compelling writers/texts of Hemingway’s time and today.

Submissions should be tailored to one of the following categories:

• A  COMPREHENSIVE BIOGRAPHICAL  essay   (~2500 words);
• A  CRITICAL RECEPTION  essay (~5000 words) that traces the reception of Hemingway’s novel from publication to today;­
• CRITICAL LENS  essays (~5000 words) that offer a close reading of the novel from a particular critical standpoint;
• COMPARATIVE ANALYSIS  essays   (~5000 words) that   analyze the work as influential to—or influenced by—another work by this or another author;
• CRITICAL READING  essays (~5000 words) that focus on contemporary readings of a Hemingway’s novel, with emphasis on ways readers (i.e. students in secondary and university settings) might be able to appreciate or problematize the text(s) with new eyes and current literary theories.

By  June 30,  please submit a 250-350-word abstract, a 75-word biographical statement (including your affiliation), and contact information to the acquiring editor, Dr. Laura Nicosia:  [email protected] .

Submissions of approximately  5000 words  (inclusive of Works Cited) will need to be completed by  August 21,  utilizing MLA style.

Honoraria will be awarded by the publisher to contributors after publication.