literary journalism essay sample

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What is Literary Journalism: a Guide with Examples

Literary journalism is a genre created with the help of a reporter’s inner voice and employing a writing style based on literary techniques. The journalists working in the genre of literary journalism must be able to use the whole literary arsenal: epithets, impersonations, comparisons, allegories, etc. Thus, literary journalism is similar to fiction. At the same time, it remains journalism , which is the opposite of fiction as it tells a true story. The journalist’s task here is not only to inform us about specific events but also to affect our feelings (mainly aesthetic ones) and explore the details that ordinary journalism overlooks.

Characteristics of literary journalism

Modern journalism is constantly changing, but not all changes are good for it (take fake news proliferating thanks to social media , for instance). Contemporary literary journalism differs from its historic predecessor in the following:

• Literary journalism almost completely lost its unity with literature
• Journalists have stopped relying on the literary features of the language and style
• There are fewer and fewer articles in the genre of literary journalism in modern editions
• Contemporary media has lost the need in literary journalism
• The habits of media consumers today are not sophisticated enough for a revival of literary journalism

The most prominent works of literary journalism

With all this, it’s no surprise that we need to go back in time to find worthy examples of literary journalism. Fortunately, it wasn’t until the 1970-s that literary journalism came to an end, so here are 4 great works of the genre that are worth every minute of your attention.

Mark Twain, The Innocents Abroad (1869)

Mark Twain studied journalism from the age of 12 and until the end of his life. It brought him his first glory and a pseudonym and made him a writer. In 1867, Twain (as a correspondent of the newspaper Daily Alta California , San Francisco) went on a sea voyage to Europe, the Middle East, and Egypt. His reports and travel records turned into the book The Innocents Abroad , which made him famous all over the world.

In some sense, American journalism came out of letters that served as an important source of information about life in the colonies. The newspaper has long been characterized by an epistolary subjectivity, and Twain’s book recalls the times when no one thought that neutrality would one day become one of the hallmarks of the “right” journalism.

Of course, Twain’s travel around the Old World was a journey not only through geography but also through the history that Twain resolutely refused to worship. Sometimes it’s funny, sometimes not too much, but the more valuable are the lyrical and sublime notes that sound when Twain-the-narrator is truly captivated by something.

John Hersey, Hiroshima (1946)

John Hersey was a war correspondent and a winner of the Pulitzer Prize for his debut story A Bell for Adano . As a reporter of The New Yorker , he was one of the first journalists from the USA who came to Hiroshima to describe the consequences of the atomic bombing.

Starting with where two doctors, two priests, a seamstress, and a plant employee were and what they were doing at exactly 08:15 a.m. on August 6, 1945, when the bomb exploded over Hiroshima, Hersey describes the year they lived after that. Hersey’s uniform and detached tone seems to be the only appropriate medium in relation to what one would call indescribable and inexpressible. Without allowing himself sentimentality, admiring horrors, or obvious partiality, he doesn’t miss any of the details that add up to a horrible and magnificent picture.

Hiroshima became a sensation due to the formidable brevity of the author’s prose, which tried to give the reader the most explicit (and the most complete) idea of what happened for the first time in mankind’s history

Truman Capote, “In Cold Blood” (1965)

Truman Capote turned to journalism as a young writer looking for a new form of self-expression. He read an article about the murder of the family of a farmer Herbert Clutter in Holcomb City (Kansas) in the newspaper and went there to collect the material. His original idea was to write about how a brutal murder influenced the life of the quiet backwoods. The killers were caught, and Capote decided to use their confessions in his book. He finished it only after the killers were hanged. This way, the six-year story got the finale.

In Cold Blood was published in “The New Yorker” in 1965. Next year it was released as a book that became the benchmark of true crime and a super bestseller. “In Cold Blood” includes:

• A stylistic brilliance.
• Inexorable footsteps of doom destroying both innocent and guilty.
• The horror hidden in a person and waiting for a chance to break out.

Tom Wolfe, The Electric Kool-Aid Acid Test (1968)

Tomas Wolfe is one of the key figures of literary journalism. Mainly due to his creative and, so to speak, production efforts, “the new journalism” became an essential part of American culture and drew close attention (both critical and academic).

The Electric Kool-Aid Acid Test became one of the hallmarks of this type of journalism with its focus on aesthetic expressiveness (along with documentary authenticity). This is a story about the writer Ken Kesey and his friends and associates’ community, “Merry Pranksters”, who spread the idea of the benefits of expanding consciousness.

Wolfe decided to plunge into the “subjective reality” of the characters and their adventures. To convey them to the reader, he had to “squeeze” the English language: Wolfe changes prose to poetry , dives into the stream of consciousness, and mocks the traditional punctuation. In general, he does just about everything to make a crazy carnival come to life on the pages of his book (without actually participating in it). Compare that with gonzo journalism by Hunter S. Thompson , the author of Fear and Loathing in Las Vegas which draws upon some similar themes.

The book’s main part is devoted to the journey of the “pranksters” on a psychedelic propaganda bus and the “acid tests” themselves, which were actually parties where a lot of people took LSD. Wolfe had to use different sources of information to reconstruct these events, and it’s hard to believe that he didn’t experience any of them himself. Yet, no matter how bright his book shines and how much freedom it shows, Wolfe makes it clear that he’s talking about a doomed project and an ending era.

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December 22, 2017, want to read some of the best literary journalism of 2017 we’ve got you covered, a weekly roundup of some favorite things, for your reading and listening pleasure.

Kari Howard

From "Seven Days of Heroin": Terri was arrested on outstanding warrants; she was roused as she slept with her boyfriend under an overpass. Liz Dufour/The Cincinnati Enquirer

Yes, it’s the time of year to look back on the good things that happened this year (and try to forget the bad, if only for a little while). First off: John McPhee wrote a book that gives lesser beings like us tips about the writing process. That has to be worth at least a little smile, right? And I’m also grateful for some wonderful literary journalism this year, including four of the stories listed below in the “What I’m reading online” category. Finally, it’s been a delight to be editing Storyboard this year — dream job, indeed. Here’s to more dreams coming true in 2018 for all of us.

The cover story that materialized from Tullis' pitch.

The Pitch: a veteran freelancer on pitching The New York Times Magazine and more. This is another installment of Katia Savchuk’s great (and useful) series called “The Pitch.” Here she talks to freelancer Paul Tullis, who has been on both sides of the pitching equation, as an editor and a reporter. From the reporter’s side, he says, “I have sold narrative feature pitches in two sentences, but it’s rare. It makes sense to say if you can’t get your idea across in three paragraphs, you need to work on your idea. That said, if it’s an obscure topic, you might need a paragraph just of background to let people know it’s actually important.”

The soundtrack: “Both Sides Now,” by Kate Wolf. This is my favorite version of the Joni Mitchell song. Her deeper voice and impeccable timing bring a new richness to a familiar song. (If you don’t know her version of “Peaceful Easy Feeling,” it’s a revelation.)

One Great Sentence

“We were taken to the ‘Oh, My God, Corner,’ a position near the escalator. People arriving see the long line and say “Oh, my God!” and it’s an elf’s job to calm them down and explain that it will take no longer than an hour to see Santa.”

David Sedaris, “SantaLand Diaries” from “Holidays on Ice.” Read why we think it’s great.

The author John McPhee Department of Communications, Princeton University

“Draft No. 4”: the legendary John McPhee’s “master class in the writer’s craft.” Former Los Angeles Times Book Editor David Ulin has written a lovely essay on why this book by one of the gods of literary journalism is so good. In it, he includes some great lessons from McPhee, like this one: “A piece of writing,” he insists, “has to start somewhere, go somewhere, and sit down when it gets there. You do that by building what you hope is an unarguable structure. Beginning, middle, end.” And this: “What, he began to wonder, about a double profile, involving two figures who are connected but at the same time distinct? ‘In the resonance between the two sides, added dimension might develop. Maybe I would twice meet myself coming the other way. Or four times. Who could tell what might happen? In any case, one plus one should add up to more than two.'”

The soundtrack: “Suspended from Class,” by Camera Obscura. This is one of my favorite underrated bands. This song popped into my head after I read the publisher’s line about “a master class in the writer’s craft.” The song begins with this line, “You’re such a beautiful writer/That’s not all you are.” But my favorite line is from the chorus: “I should be suspended from class/I don’t know my elbow from my ass.”

What I’m reading online: I spent some time this month looking back on some top-notch work of the past 12 months. I’m going to list three of my favorites that we spotlighted on Storyboard, and one I wish we had.

How to Get Away With Murder in Small Town India, by Ellen Barry. I absolutely loved this story, the final piece The New York Times correspondent did as she left New Delhi for London. The writing is spectacular, using first person to unparalleled effect. In this Annotation Tuesday!, Barry says, “If you are using the first person, you almost by necessity need to be a character. Being a rich white person in rural India, or any place that poor, is a strange, uncomfortable feeling much of the time. So I suppose I wanted to explore that.”

The Detective of Northern Oddities, by Christopher Solomon. This piece for Outside magazine is another story that features standout writing (and humor) to draw readers into a serious subject, this time climate change and the sinister effects it may be having on wildlife. It’s about a scientist in Alaska who spends her days “slicing open furry dead animals,” and it features what may be my favorite line in a story this year: “A big pair of garden shears sat on the counter, as foreboding as Chekhov’s gun on the mantel.” Read Allison Eck’s annotation for the inside scoop on how he wrote and reported the story.

Seven Days of Heroin, by the Cincinnati Enquirer staff. I’m still blown away by both the concept and execution of this piece. Sixty staffers reported even the tiniest details of one week in the opioid crisis in Cincinnati, and in a stunning feat of editing, a rich narrative emerged. This shows you don’t have to be one of the “big” newspapers to do standout work on a national issue; you just need a great idea and the commitment to use a large portion of your staff in a show of reporting force. In our Notable Narrative, lead reporter Terry DeMio says, ‘We just wanted to show people: This is what a heroin epidemic looks like.”

A Most American Terrorist: the Making of Dylann Roof, by Rachel Kaadzi Ghansah. This tremendous profile of the young man who killed nine African Americans at a church in Charleston, S.C., features one of the best ledes of the year: “Sitting beside the church, drinking from a bottle of Smirnoff Ice, he thought he had to go in and shoot them.” The writing (and the reporting) is stellar throughout the story, though, as Ghansah follows a trail leading back from that terrible moment to his childhood. This is an example, like Gay Talese’s “Frank Sinatra Has a Cold,” where a reporter captures the essence of a person without interviewing him.

If you want to chat about storytelling (or music), I’m Storyboard editor Kari Howard, and you can reach me at [email protected] . Or you can find me at @karihow on Twitter.

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What Is Literary Journalism?

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• An Introduction to Punctuation
• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

Literary journalism is a form of nonfiction that combines factual reporting with narrative techniques and stylistic strategies traditionally associated with fiction. This form of writing can also be called  narrative journalism or new journalism . The term literary journalism is sometimes used interchangeably with creative nonfiction ; more often, however, it is regarded as one type of creative nonfiction.

In his ground-breaking anthology The Literary Journalists , Norman Sims observed that literary journalism "demands immersion in complex, difficult subjects. The voice of the writer surfaces to show that an author is at work."

Highly regarded literary journalists in the U.S. today include John McPhee , Jane Kramer, Mark Singer, and Richard Rhodes. Some notable literary journalists of the past include Stephen Crane, Henry Mayhew , Jack London , George Orwell , and Tom Wolfe.

Characteristics of Literary Journalism

There is not exactly a concrete formula that writers use to craft literary journalism, as there is for other genres, but according to Sims, a few somewhat flexible rules and common features define literary journalism. "Among the shared characteristics of literary journalism are immersion reporting, complicated structures, character development, symbolism , voice , a focus on ordinary people ... and accuracy.

"Literary journalists recognize the need for a consciousness on the page through which the objects in view are filtered. A list of characteristics can be an easier way to define literary journalism than a formal definition or a set of rules. Well, there are some rules, but Mark Kramer used the term 'breakable rules' in an anthology we edited. Among those rules, Kramer included:

• Literary journalists immerse themselves in subjects' worlds...
• Literary journalists work out implicit covenants about accuracy and candor...
• Literary journalists write mostly about routine events.
• Literary journalists develop meaning by building upon the readers' sequential reactions.

... Journalism ties itself to the actual, the confirmed, that which is not simply imagined. ... Literary journalists have adhered to the rules of accuracy—or mostly so—precisely because their work cannot be labeled as journalism if details and characters are imaginary." 

Why Literary Journalism Is Not Fiction or Journalism

The term "literary journalism" suggests ties to fiction and journalism, but according to Jan Whitt, literary journalism does not fit neatly into any other category of writing. "Literary journalism is not fiction—the people are real and the events occurred—nor is it journalism in a traditional sense.

"There is interpretation, a personal point of view, and (often) experimentation with structure and chronology. Another essential element of literary journalism is its focus. Rather than emphasizing institutions, literary journalism explores the lives of those who are affected by those institutions."

The Role of the Reader

Because creative nonfiction is so nuanced, the burden of interpreting literary journalism falls on readers. John McPhee, quoted by Sims in "The Art of Literary Journalism," elaborates: "Through dialogue , words, the presentation of the scene, you can turn over the material to the reader. The reader is ninety-some percent of what's creative in creative writing. A writer simply gets things started."

Literary Journalism and the Truth

Literary journalists face a complicated challenge. They must deliver facts and comment on current events in ways that speak to much larger big picture truths about culture, politics, and other major facets of life; literary journalists are, if anything, more tied to authenticity than other journalists. Literary journalism exists for a reason: to start conversations.

Literary Journalism as Nonfiction Prose

Rose Wilder talks about literary journalism as nonfiction prose—informational writing that flows and develops organically like a story—and the strategies that effective writers of this genre employ in The Rediscovered Writings of Rose Wilder Lane, Literary journalist. "As defined by Thomas B. Connery, literary journalism is 'nonfiction printed prose whose verifiable content is shaped and transformed into a story or sketch by use of narrative and rhetorical  techniques generally associated with fiction.'

"Through these stories and sketches, authors 'make a statement, or provide an interpretation, about the people and culture depicted.' Norman Sims adds to this definition by suggesting the genre  itself allows readers to 'behold others' lives, often set within far clearer contexts than we can bring to our own.'

"He goes on to suggest, 'There is something intrinsically political—and strongly democratic—about literary journalism—something pluralistic, pro-individual, anti-cant, and anti-elite.' Further, as John E. Hartsock points out, the bulk of work that has been considered literary journalism is composed 'largely by professional journalists or those writers whose industrial means of production is to be found in the newspaper and magazine press, thus making them at least for the interim de facto journalists.'"

She concludes, "Common to many definitions of literary journalism is that the work itself should contain some kind of higher truth; the stories themselves may be said to be emblematic of a larger truth."

Background of Literary Journalism

This distinct version of journalism owes its beginnings to the likes of Benjamin Franklin, William Hazlitt, Joseph Pulitzer, and others. "[Benjamin] Franklin's Silence Dogood essays marked his entrance into literary journalism," begins Carla Mulford. "Silence, the persona Franklin adopted, speaks to the form that literary journalism should take—that it should be situated in the ordinary world—even though her background was not typically found in newspaper writing." 

Literary journalism as it is now was decades in the making, and it is very much intertwined with the New Journalism movement of the late 20th century. Arthur Krystal speaks to the critical role that essayist William Hazlitt played in refining the genre: "A hundred and fifty years before the New Journalists of the 1960s rubbed our noses in their egos, [William] Hazlitt put himself into his work with a candor that would have been unthinkable a few generations earlier."

Robert Boynton clarifies the relationship between literary journalism and new journalism, two terms that were once separate but are now often used interchangeably. "The phrase 'New Journalism' first appeared in an American context in the 1880s when it was used to describe the blend of sensationalism and crusading journalism—muckraking on behalf of immigrants and the poor—one found in the New York World and other papers... Although it was historically unrelated to [Joseph] Pulitzer's New Journalism, the genre of writing that Lincoln Steffens called 'literary journalism' shared many of its goals."

Boynton goes on to compare literary journalism with editorial policy. "As the city editor of the New York Commercial Advertiser in the 1890s, Steffens made literary journalism—artfully told narrative stories about subjects of concern to the masses—into editorial policy, insisting that the basic goals of the artist and the journalist (subjectivity, honesty, empathy) were the same."

• Boynton, Robert S. The New New Journalism: Conversations with America's Best Nonfiction Writers on Their Craft . Knopf Doubleday Publishing Group, 2007.
• Krystal, Arthur. "Slang-Whanger." The New Yorker, 11 May 2009.
• Lane, Rose Wilder.  The Rediscovered Writings of Rose Wilder Lane, Literary Journalist . Edited by Amy Mattson Lauters, University of Missouri Press, 2007.
• Mulford, Carla. “Benjamin Franklin and Transatlantic Literary Journalism.”  Transatlantic Literary Studies, 1660-1830 , edited by Eve Tavor Bannet and Susan Manning, Cambridge University Press, 2012, pp. 75–90.
• Sims, Norman. True Stories: A Century of Literary Journalism . 1st ed., Northwestern University Press, 2008.
• Sims, Norman. “The Art of Literary Journalism.”  Literary Journalism , edited by Norman Sims and Mark Kramer, Ballantine Books, 1995.
• Sims, Norman. The Literary Journalists . Ballantine Books, 1984.
• Whitt, Jan. Women in American Journalism: A New History . University of Illinois Press, 2008.
• An Introduction to Literary Nonfiction
• Creative Nonfiction
• John McPhee: His Life and Work
• Defining Nonfiction Writing
• Genres in Literature
• literary present (verbs)
• Third-Person Point of View
• Tips on Great Writing: Setting the Scene
• What Is a Synopsis and How Do You Write One?
• A Guide to All Types of Narration, With Examples
• The Essay: History and Definition
• A Look at the Roles Characters Play in Literature
• What Is a Novel? Definition and Characteristics
• Point of View in Grammar and Composition

Free Journalism Essay Examples & Topics

A journalism essay is a type of paper that combines personal records and reports. Besides news and facts, it should contain a story. An angle that creates a unique narrative of the events you are describing is crucial. However, let’s start with the definition.

No matter how often people hear about journalism, they still might get confused about what it is. It is an act of informative writing about news stories. It can be digital and non-digital, print and non-print. Journalists strive to present information in an interesting way while staying true to the source.

If you have seen journalistic article examples, you know there are two types. News can cover “hard stories”, meaning world events and politics, and “softer stories” about celebrities, science, etc. Journalism as a profession is multidimensional in nature. It can include texts, photography, interviews, and more. Content varies between different categories, such as literary reportage and yellow journalism.

Here, our experts have combined tips about how to write a good journalistic essay. We gathered information that will be useful for starting research and completing it. Moreover, you will find journalism topic ideas. You can use them for inspiration or to practice. Finally, underneath the article you will discover some stellar journalistic essay examples written by other students.

How to Write a Journalistic Essay

In this section, you’ll find tips that can help you start writing. However, nothing is more vital than choosing an appropriate journalism essay topic beforehand.

Before picking the subject, ask yourself several questions:

• What themes do I want to explore?
• What will my story be about?
• What points do I want to make?
• What is my attitude towards the topic?

Answering these questions can allow you to improve your storytelling. What’s more, look for one that can allow you to write intimately. Personal touches and views will influence your paper immensely. With all that in mind, try our free topic generator to get more ideas.

To write an outstanding journalistic essay, you should try these tips:

• Gather facts and references first.

Collect all the information you may need for your paper. For a story in journalism, you may be required to interview people or visit a location. Most importantly, you’ll have to research online. Also, you can read stories written by other people on the Internet to gain a better perspective.

• Organize your ideas and arguments before writing.

A good story is always organized. The structure of a journalistic should represent an inverted pyramid. The most crucial facts appear on the top, less important details go further, and extra information stays on the bottom. You can reflect in your writing. Organize all your arguments before writing, sticking to a logical structure.

• Rely on storytelling.

The story should become the main focus of your work. The writing should serve it and grab the reader’s attention from the start. Think about storytelling techniques that can keep your reader interested till the very end.

• Work on your style and language.

Another essential technique to keep your work both logical and engaging is to write in short sentences. If you search for any journalistic writing examples, you’ll see that’s how journalists write. The main goal of your paper is to deliver a clear and strong message. So, working on your style is going to help you further this agenda.

21 Journalism Essay Topics

There are so many journalism topics you can write about, and it can sometimes be challenging to stick to one. If you are still unsure what to describe and explore in your paper, this section can help you make this choice.

Here are some original journalism topic ideas:

• The way race impacts the news in different states in the US.
• Super Bowl as a phenomenon is more important than the game.
• Why people refuse to believe in climate change.
• How have sports changed international politics?
• Is creative writing in high school an essential subject?
• How vital is transparency in broadcast journalism?
• Is media responsible for the Covid-19 crisis in the US?
• Journalism as a profession can help change the world.
• A privacy issue between British journalism and the royal family.
• Are social media and blogging the future of journalism?
• The role of religion and race in Hollywood.
• Why has the Chinese economy risen so much over the past decade?
• How can media help in battling poverty in developing countries?
• Can music be used as political propaganda?
• Connections between social media and depression.
• Should mobile phones be allowed in educational institutions?
• Has the Internet impacted the way how newspapers and articles are written?
• Should fake news be banned on social media?
• What are the biggest challenges of investigative journalism?
• Can reality television be viewed as a type of journalism?
• How can athletes impact social awareness?

Thank you for reading the article! We hope you will find it helpful. Do not hesitate to share this article or a list of journalism essay examples with others. Good luck with your assignment!

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What is Literary Journalism?

In this article, a journalist explains what is literary journalism and its key conventions.

Literary journalism is a type of writing that uses narrative techniques that are more typical of novels, short stories and other forms of fiction. However, similar to traditional news reporting, it is presenting a factual story to a public audience.

It is also known as creative nonfiction, immersion journalism, narrative journalism and new journalism.

The last of those terms, ‘new journalism’ came about during the 1960s and 70s, when the writings of Tom Wolfe, Norman Mailer, Gay Talese, Joan Didion, Hunter Thompson, George Plimpton, and Truman Capote, and gonzo journalism , reached the public sphere.

Before reading on, check out our guide to the best journalism tools .

Defining Literary Journalism

Recognizing literary journalism, criticism of literary journalism, the role of literary journalism today, resources for journalists, what is the meaning of literary journalism, why is literary journalism important, what is the difference between literary journalism and other journalism.

Norman Sim’s seminal anthology, The Literary Journalists , included the work of some of those writers. It also tried to define just what a literary journalist is. Within its opening passage, it read:

“The literary journalists are marvelous observers whose meticulous attention to detail is wedded to the tools and techniques of the fiction writer. Like reporters, they are fact gatherers whose material is the real world.

“Like fiction writers, they are consummate storytellers who endow their stories with a narrative structure and a distinctive voice.”

Although the history of literary journalism goes back much further than 1960s, it was then when writers such as Tom Wolfe, Truman Capote and Gay Talese exposed this style to the masses.

Their work was renowned for its immersive qualities and its ability to build a plot and narrative. Instead of sticking to journalistic formulas, they wrote in their own voice and in a stylistic narrative that was uniquely theirs.

This writing style was not typical of the newspaper articles of the day.

Although their long-form stories and in-depth research was more suited to literature than newspapers, the likes of Esquire and The New Yorker did publish their work with great success.

New Journalism Not Being New

The differences from the common journalism of the 1960s were notable, hence why their work went under an umbrella category known as ‘new journalism’.

That being said, this style was not new at all, with literary journalism already being written in both North America and further afield.

John S. Bak, founding President of the International Association for Literary Journalism Studies, points to how journalism evolved in different regions, yet when it comes to this form of writing, there are still overlapping traits. He wrote:

“Since journalism in America and in Europe evolved from different traditions, it is only natural that their literary journalism should have done so as well. But the picture of a U.S.-led literary journalism and a European-produced literary reportage is not as clearly demarcated as one would think or hope.”

Literary journalism takes the qualities of both literature and reporting and melds them into something unique. According to the aforementioned Sims, there are some common features that the best literary nonfiction writers employ. He said:

“Among the shared characteristics of literary journalism are immersion reporting, complicated structures, character development, symbolism, voice, a focus on ordinary people… and accuracy.”

Editor, Mark Kramer echoes these characteristics in his ‘breakable rules’ for literary journalists, which he penned for Harvard University. His rules are as follows.

• Literary journalists immerse themselves in subjects’ worlds and in background research.
• Literary journalists work out implicit covenants about accuracy and candor with readers and with sources.
• Literary journalists write mostly about routine events.
• Literary journalists write in “intimate voice,” informal, frank, human and ironic.
• Style counts, and tends to be plain and spare.
• Literary journalists write from a disengaged and mobile stance, from which they tell stories and also turn and address readers directly.
• Structure counts, mixing primary narrative with tales and digressions to amplify and reframe events.
• Literary journalists develop meaning by building upon the readers’ sequential reactions.

As said above though, these are all ‘breakable rules’.

The difficulty in defining this type of writing was also touched upon in the 2012 anthology, Global ‘‘Literary Journalism: Exploring the Journalistic Imagination’ by Keeble and Tulloch.

They stated: “On a value-free level, we might argue that, rather than a stable genre or family of genres, literary journalism defines a field where different traditions and practices of writing intersect”.

However, when defining literary journalism and literary reportage, Keeble and Tulloch’s definition does work well: “‘The defining mark of literary journalism is the personality of the writer, the individual and intimate voice of a whole, candid person . . . speaking simply in his or her own right”.

Much of the criticism relating to literary journalism relates to its prioritizing style and narrative technique, over reportage.

As Josh Roiland of the University of Maine puts it, “literary journalism has experienced a resurgence in recent years, and like all popular movements it has sustained a backlash from those who believe it fetishizes narrative at the expense of research and reporting.”

Author and academic, D.G. Myers, shared another critique of the genre, calling it out for ‘pretention’.

He wrote: “Apparently, literary journalism is fancy journalism, highbrow journalism. It is journalism plus fine writing. It is journalism with literary pretensions. But here’s the thing about literary pretensions. They are pretentious. They are phoney. Good writers don’t brag about writing literature, which is a title of honor.”

He also points out how the stylistic methods used are a mixture of travel writing and historical record, rather than plain journalism. He added:

“(Literary journalism) is history because it undertakes to determine what happened in a past, travel writing because it depends upon first-hand observation in addition to documented evidence.”

Liz Fakazis wrote for Britannica on the subject of literary journalism and its critics. She wrote: “(Literary journalism) ignited a debate over how much like a novel or short story a journalistic piece could be before it began violating journalism’s commitment to truth and facts.”

Overall, most of these critiques appear to come from a similar point of view.

That is that the personal essay style of writing that embodies literary journalism is too far removed from the values of news reporting in its most puritanical form. For instance, some argue that this type of reporting does not put enough emphasis on objectivity.

Fakazis further discussed this in her Britannica piece, pointing toward the evolution of truth within journalism as a reason and justification for this type of writing . She wrote:

“(Literary journalists) works challenged the ideology of objectivity and its related practices that had come to govern the profession. The (literary journalists) argued that objectivity does not guarantee truth and that so-called “objective” stories can be more misleading than stories told from a clearly presented personal point of view.

“Mainstream news reporters echoed the New Journalists’ arguments as they began doubting the ability of “objective” journalism to arrive at truth—especially after more traditional reporting failed to convey the complex truth of events such as McCarthyism in the 1950s, the Vietnam War in the 1960s and ’70s, and the Watergate scandal in the early 1970s.”

The fact that objectivity was removed as a guiding principle of the Society of Professional Journalists (replaced with fairness and accuracy) in 1996 further pushes this argument.

As is discussed in a ThoughtCo article by academic Richard Nordquist , although narrative nonfiction is obliged to report the facts, it is also required to share the bigger picture and this can be even more important. He wrote:

“Literary journalists face a complicated challenge. They must deliver facts and comment on current events in ways that speak to much larger big picture truths about culture, politics, and other major facets of life; literary journalists are, if anything, more tied to authenticity than other journalists. Literary journalism exists for a reason: to start conversations.

Ultimately, literary journalism is a type of reportage that requires time, commitment and deep knowledge of the craft. It’s not something that you’ll read in a tabloid or online often, but it’s rewarding for the writer and readers.

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FAQs About literary journalism

Literary journalism is a genre of journalistic work that consists of writing that embraces narrative techniques while presenting a factual story.

Literary journalism contextualizes a story and presents more than just the plain facts, which at times do not give a rounded view of the going-on being reported on.

The key difference is the writing style. Literary journalism takes on narrative techniques that are more typical of novels, short stories, and other forms of literature. Meanwhile, traditional journalism reports the facts and sticks to formulas, such as the inverted pyramid, which is designed for sharing news efficiently.

Cian Murray is an experienced writer and editor, who graduated from Cardiff University’s esteemed School of Journalism, Media and Culture. His work has been featured in both local and national media, and he has also produced content for multinational brands and agencies.

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Literary Journalism I

Learn the basics of nonfiction writing — which offers rich, detailed, and vivid portraits of real events — as you read the best examples of the genre, and begin your own works.

What you can learn.

• Define what literary journalism is and how it differs from standard reportage
• Read examples from contemporary masters like Tom Wolfe, Joan Didion, and Gay Talese
• Develop skills of strong fiction writing to apply to writing about true events
• Start your own literary journalism project and get input from peers and the instructor

About this course:

Summer 2024 schedule.

Enrollment limited to 15 students; early enrollment advised. Visitors not permitted. Internet access required.

This online course is conducted through Canvas, a secure website that allows students to log in to access lectures, discussions, and other course materials on demand. There are no required live class meetings. Each course is structured with weekly assignments and deadlines. Lectures and coursework are accessible throughout the week. Workshops are conducted in writing via discussion boards with your instructor and classmates.

Internet access required to retrieve course materials.

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Are these the best 10 works of journalism published in the last decade?

Yesterday, in a virtual ceremony, the faculty of NYU’s Arthur L. Carter Journalism Institute announced their choices for the best 10 works of journalism published in the last decade (2010 to 2019). The final top 10 pieces of journalism (some books, some single articles) were chosen by the faculty of New York University’s Arthur L. Carter Journalism Institute, together with “a group of distinguished outside judges,” and selected from a list of 122 nominations (all of which are probably worth reading).

Here’s the final list, along with what the judges had to say about the works at hand:

1. Ta-Nehisi Coates, “ The Case for Reparations ,” The Atlantic

“Beautifully written, meticulously reported, highly persuasive …” “The most powerful essay of its time.” “Ground breaking.” “It influenced the public conversation so much that it became a necessary topic in the presidential debate.”

2. Isabel Wilkerson, The Warmth of Other Suns: The Epic Story of America’s Great Migration

“It’s a masterwork by one of our greatest writers and most diligent reporters. Exquisitely written as it is researched, embracing breadth and detail alike, essential reading to understand America.” “A masterpiece of narrative nonfiction.”

3. Jodi Kantor and Megan Twohey, She Said: Breaking the Sexual Harassment Story That Helped Ignite a Movement

“A chronicle of the #MeToo era.” “A pitch-perfect primer on how to take a hot-button-chasing by-the-minutes breaking story and investigate it with the best and most honorable journalistic practices.” “This is one of the defining issues of our times, one whose impact will be felt for a long time.”

4. Katherine Boo, Behind the Beautiful Forevers: Life, Death and Hope in a Mumbai Undercity

“Unbelievably well written and well reported portrait of a slum in Mumbai.” “Vividly reports on the life of this slum’s inhabitants.”

5. Michelle Alexander, The New Jim Crow: Mass Incarceration in the Age of Colorblindness

“The book demonstrates the ways in which the War on Drugs, and its resulting incarceration policies and processes, operate against people of color in the same way as Jim Crow. Powerful on its own terms and crucial as an engine toward transforming the criminality of our ‘justice’ system.”

6. Julie K. Brown, “ How a Future Trump Cabinet Member Gave a Serial Sex Abuser the Deal of a Lifetime ,” Miami Herald

“Investigative journalist for The Miami Herald, examines a secret plea deal that helped Jeffrey Epstein evade federal charges related to sexual abuse.” “Brown essentially picked up a cold case; without her reporting, Epstein’s crimes and prosecutors’ dereliction would not be known.” “Great investigative reporting.” “Documenting the abuses of Jeffrey Epstein when virtually everyone else had dropped the story. “What makes this particularly compelling for me is that Brown did the reporting amid the economic collapse of a great regional paper.” “A remarkable effort to empower victims.”

7. Sheri Fink, Five Days at Memorial: Life and Death in a Storm-Ravaged Hospital

“In the aftermath of Hurricane Katrina. This is narrative medical journalism at its finest: compelling, compassionate, and unsettling.”

8. Nikole Hannah-Jones, Matthew Desmond, Jeneen Interlandi, Kevin M. Kruse, Jamelle Bouie, Linda Villarosa, Wesley Morris, Khalil Gibran Muhammad, Bryan Stevenson, Trymaine Lee, Djeneba Aduayom, Nikita Stewart, Mary Elliott, Jazmine Hughes, The 1619 Project , New York Times Magazine

“Explores the beginning of American slavery and reframes the country’s history by placing the consequences of slavery and the contributions of black Americans at the very center of our national narrative.” “A definitive work of opinion journalism examining the lingering role of slavery in American society.”

9. David A. Fahrenthold, Series of articles demonstrating that most of candidate Donald Trump’s claimed charitable giving was bogus , Washington Post

“By contacting hundreds of charities — interactions recorded on what became a well-known legal pad — Fahrenthold proved that Trump had never given what he claimed to have given or much at all, despite, in one instance, having sat on the stage as if he had.”

10. Staff of The Washington Post , Police shootings database 2015 to present

“The definitive journalistic exploration and documentation of fatal police shootings in America. In a decade defined, in part, by the emergence of Black Lives Matter, this  Washington Post  project set a new standard for real-time, data journalism and was a vital resource during a still-raging national debate.” “In the wake of Ferguson, newsrooms across the country took up admirable data reporting efforts to fill the longstanding gaps in existing federal data on police use of force. This project stands out both in its comprehensiveness and sustained dedication.”

[h/t  The Washington Post ]

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9.10–Sample Research-Based Literary Essay

James Francis, Jr.; Dorothy Todd; Nicole Hagstrom-Schmidt; and R. Paul Cooper

Part of the writing and research process often involves reviewing the work of other writers to comprehend strategies for content development, organization, and analysis. When reviewing a sample essay, a writer should never base how they create their own work on the sample or attempt to copy it in form and/or content. Instead, reading a sample essay can be a beneficial process for a writer to consider how to open the essay discussion, structure the content, approach critical analysis of a text, and integrate research perspectives into the conversation.

Here are a few questions to consider when reading a sample essay:

• Does the writer offer a convincing, concise, and clear claim to guide the research? How?
• In what way(s) are the arguments within the essay supported by evidence from the text(s)?
• What techniques and strategies for writing persuasively can you identify?
• How effective is research (secondary source material) utilized to develop content and analysis?
• What tone does the writer establish in the essay content? Is it consistent?
• Can you recognize a distinct voice of the writer or has the research taken over their argument?
• Does the conclusion do more than just summarize/restate the initial thesis and essay content?
• Are there strengths and weaknesses in the organization/formatting? List them.
• Is the word choice appropriate for the essay and its intended audience?
• Overall, how well does the essay respond to the assignment prompt and guidelines?

These types of questions represent related inquiries we may ask when writing an essay draft and throughout the revision and editing process. By performing evaluative checks on sample writing, a writer learns how to apply a similar review of their essay to strengthen its form and/or content. Furthermore, this activity connects us to our own work by focusing our attention on which writing and research strategies to employ in order to create an effective, credible, and authoritative essay. Additionally, keep the lines of communication open with your instructor to always discuss how they intend for you to engage with sample writing materials in the course.

Sample Prompt

Assignment Description: The purpose of this essay is to effectively communicate a persuasive argument based on research and analysis of primary and secondary texts. For this assignment, you will engage in secondary research and close reading of a primary text to develop an original, nuanced argument about one of the play’s we’ve read this semester.

Content: Strong essays will utilize close reading techniques, including attention to dramatic elements, meter, rhyming, double meanings of words, and other rhetorical/poetic features. Furthermore, they will put forth a clear, interesting, and unique interpretation of the text in question. Weak essays will not utilize or discuss the text; rather, they may quote but only to summarize. Weak essays also tend to simply summarize the plot or give surface readings of a passage, character, or theme. Additionally, because this is a research-based literary essay, strong essays will include thoughtful engagement with secondary sources. Weak essays will not utilize or discuss the secondary sources; they might include quotations from secondary sources but only to echo the argument the essay-writer is attempting to make. For more details about the use of secondary sources, see the following section.

Research Expectations: At least three scholarly sources will be incorporated to aid in the development of your argument. Supplemental sources, such as the Oxford English Dictionary or a reference to another text we have read are encouraged but not required. The research may support your claim, offer counterargument, and/or provide contextual discussion such as the film’s production history or socio-cultural response to the film. The essay will be guided by the writer’s voice (your claim), not the research material.

Format: Follow MLA 9 guidelines.

Scope: Essays should range between 1500 and 2000 words. (Works Cited required to document the primary text and any secondary sources, but not included in word count).

Attribution:

Francis, Jr., James, Dorothy Todd, Nicole Hagstrom-Schmidt, and R. Paul Cooper. “Writing a Literary Essay: Moving from Surface to Subtext: Sample Research-Based Literary Essay.” In Surface and Subtext: Literature, Research, Writing . 3rd ed. Edited by Claire Carly-Miles, Sarah LeMire, Kathy Christie Anders, Nicole Hagstrom-Schmidt, R. Paul Cooper, and Matt McKinney. College Station: Texas A&M University, 2024. Licensed under a Creative Commons Attribution-NonCommercial 4.0 International License .

Davidson, Naomi [pseud.]. “‘Nothing that is so is so’: The (In)Sanity of Self-Deception in Twelfth Night.” In Surface and Subtext: Literature, Research, Writing . 3rd ed. Edited by Claire Carly-Miles, Sarah LeMire, Kathy Christie Anders, Nicole Hagstrom-Schmidt, R. Paul Cooper, and Matt McKinney. College Station: Texas A&M University, 2024. Licensed under a Creative Commons Attribution-NonCommercial 4.0 International License .

9.10--Sample Research-Based Literary Essay Copyright © 2024 by James Francis, Jr.; Dorothy Todd; Nicole Hagstrom-Schmidt; and R. Paul Cooper is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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12.14: Sample Student Literary Analysis Essays

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

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

While reading these examples, ask yourself the following questions:

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

Example 1: Poetry

Victoria Morillo

Instructor Heather Ringo

3 August 2022

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

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

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

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

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

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

Works Cited

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

Example 2: Fiction

Todd Goodwin

Professor Stan Matyshak

Advanced Expository Writing

Sept. 17, 20—

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

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

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

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

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

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

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

Example 3: Poetry

Amy Chisnell

Professor Laura Neary

Writing and Literature

April 17, 20—

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

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

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

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

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

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

’Twas brillig, and the slithy toves

Did gyre and gimble in the wabe;

All mimsy were the borogroves,

An the mome raths outgrabe. (Carroll 164)

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

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

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

All flimsy and miserable were the shabby-looking birds

with mop feathers,

And the lost green pigs bellowed-sneezed-whistled.

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

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

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

’Twas mearly, and the churly pells

Did bimble and ringle in the tink;

All timpy were the brimbledimps,

And the bip plips outlink.

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

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

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

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

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

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

Attribution

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

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Literary analysis: sample essay.

We turn once more to Joanna Wolfe’s and Laura Wilder’s  Digging into Literature: Strategies for Reading, Writing, and Analysis  (Boston: Bedford/St. Martin’s, 2016) in order to show you their example of a strong student essay that has a strong central claim elucidated by multiple surface/depth arguments supported by patterns of evidence.

Paragraph 1

Sylvia Plath’s short poem “Morning Song” explores the conflicted emotions of a new mother. On the one hand, the mother recognizes that she is expected to treasure and celebrate her infant, but on the other hand, she feels strangely removed from the child. The poem uses a combination of scientific and natural imagery to illustrate the mother’s feelings of alienation. By the end of the poem, however, we see a shift in this imagery as the mother begins to see the infant in more human terms.

Paragraph 2

There are several references to scientific imagery in “Morning Song” that suggest that mother is viewing the baby in clinical, scientific terms rather than as a new life. The poem refers to magnification (4) and reflection (8), both of which are scientific methods. The word “distills” (8) refers to a scientific, chemical process for removing impurities from a substance. The baby’s cry is described as taking “its place among the elements” (3), which seems to refer to the periodic table of elements, the primordial matter of the universe. The watch in the first line is similarly a scientific tool and the gold the watch is made of is, of course, an element, like the baby’s cry. Even the balloons in the last line have a scientific connotation since balloons are often used for measurements and experiments in science. These images all serve to show how the speaker feels distanced from the baby, who is like a scientific experiment she is conducting rather than a human being.

Paragraph 3

Natural imagery also seems to further dehumanize the baby, reducing it to nothing more than its mouth. The baby’s breathing is compared to a moth in line 10, suggesting that the speaker feels the infant is fragile and is as likely to die as a moth dancing around candlelight. A few lines later, the baby’s mouth is compared to another animal—a cat—who greedily opens its mouth for milk. Not only does the speaker seem to feel that the baby is like an animal, but she herself is turned into an animal, as she arises “cow-heavy” (13) to feed the infant. These images show how the speaker sees both the baby and herself as dumb animals who exist only to feed and be fed. Even the morning itself seems to be reduced to another mouth to feed as she describes how the dawn “swallows its dull stars” (16). These lines suggest that just as the sun swallows up the stars, so the baby will swallow up this mother.

Paragraph 4

However, in the last few lines the poem takes a hopeful turn as the speaker begins to view the baby as a human being. The baby’s mouth, which has previously been greedy and animal-like, now becomes a source of music, producing a “handful of notes” (17) and “clear vowels” (18). Music is a distinctly human sound. No animals and certainly not the cats, cows, or moths mentioned earlier in the poem, make music. This change in how the speaker perceives the baby’s sounds—from animalistic cry to human song—suggest that she is beginning to relate the baby as an individual. Even the word “handful” in the phrase “handful of notes” (17) seems hopeful in this context since this is the first time the mother has referred to the baby as having a distinctly human body part. When the baby’s notes finally “rise like balloons” (18), the speaker seems to have arrived at a place where she can celebrate the infant. For the first time, the infant is giving something to the speaker rather than threatening to take something away. The mother seems to have finally accepted the child as an independent human being whose company she can celebrate.

Works Cited

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What Makes a Good Literature Paper?

An argument.

When you write an extended literary essay, often one requiring research, you are essentially making an argument. You are arguing that your perspective-an interpretation, an evaluative judgment, or a critical evaluation-is a valid one.

A debatable thesis statement

Like any argument paper you have ever written for a first-year composition course, you must have a specific, detailed thesis statement that reveals your perspective, and, like any good argument, your perspective must be one which is debatable.

You would not want to make an argument of this sort:

Shakespeare's Hamlet is a play about a young man who seeks revenge. That doesn't say anything-it's basically just a summary and is hardly debatable.

A better thesis would be this:

Hamlet experiences internal conflict because he is in love with his mother. That is debatable, controversial even. The rest of a paper with this argument as its thesis will be an attempt to show, using specific examples from the text and evidence from scholars, (1) how Hamlet is in love with his mother, (2) why he's in love with her, and (3) what implications there are for reading the play in this manner.

You also want to avoid a thesis statement like this:

Spirituality means different things to different people. King Lear , The Book of Romans , and Zen and the Art of Motorcycle Maintenance each view the spirit differently. Again, that says nothing that's not already self-evident. Why bother writing a paper about that? You're not writing an essay to list works that have nothing in common other than a general topic like "spirituality." You want to find certain works or authors that, while they may have several differences, do have some specific, unifying point. That point is your thesis.

Lear , Romans , and Zen each view the soul as the center of human personality. Then you prove it, using examples from the texts that show that the soul is the center of personality.

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Last updated on Feb 20, 2023

Creative Nonfiction: How to Spin Facts into Narrative Gold

Creative nonfiction is a genre of creative writing that approaches factual information in a literary way. This type of writing applies techniques drawn from literary fiction and poetry to material that might be at home in a magazine or textbook, combining the craftsmanship of a novel with the rigor of journalism. 

Here are some popular examples of creative nonfiction:

• The Collected Schizophrenias by Esmé Weijun Wang
• Intimations by Zadie Smith
• Me Talk Pretty One Day by David Sedaris
• The Immortal Life of Henrietta Lacks by Rebecca Skloot
• Translating Myself and Others by Jhumpa Lahiri
• The Madwoman in the Attic by Sandra M. Gilbert and Susan Gubar
• I Know Why The Caged Bird Sings by Maya Angelou
• Trick Mirror by Jia Tolentino

Creative nonfiction is not limited to novel-length writing, of course. Popular radio shows and podcasts like WBEZ’s This American Life or Sarah Koenig’s Serial also explore audio essays and documentary with a narrative approach, while personal essays like Nora Ephron’s A Few Words About Breasts and Mariama Lockington’s What A Black Woman Wishes Her Adoptive White Parents Knew also present fact with fiction-esque flair.

Writing short personal essays can be a great entry point to writing creative nonfiction. Think about a topic you would like to explore, perhaps borrowing from your own life, or a universal experience. Journal freely for five to ten minutes about the subject, and see what direction your creativity takes you in. These kinds of exercises will help you begin to approach reality in a more free flowing, literary way — a muscle you can use to build up to longer pieces of creative nonfiction.

If you think you’d like to bring your writerly prowess to nonfiction, here are our top tips for creating compelling creative nonfiction that’s as readable as a novel, but as illuminating as a scholarly article.

Write a memoir focused on a singular experience

Humans love reading about other people’s lives — like first-person memoirs, which allow you to get inside another person’s mind and learn from their wisdom. Unlike autobiographies, memoirs can focus on a single experience or theme instead of chronicling the writers’ life from birth onward.

For that reason, memoirs tend to focus on one core theme and—at least the best ones—present a clear narrative arc, like you would expect from a novel. This can be achieved by selecting a singular story from your life; a formative experience, or period of time, which is self-contained and can be marked by a beginning, a middle, and an end. 

When writing a memoir, you may also choose to share your experience in parallel with further research on this theme. By performing secondary research, you’re able to bring added weight to your anecdotal evidence, and demonstrate the ways your own experience is reflective (or perhaps unique from) the wider whole.

Example: The Year of Magical Thinking by Joan Didion

Joan Didion’s The Year of Magical Thinking , for example, interweaves the author’s experience of widowhood with sociological research on grief. Chronicling the year after her husband’s unexpected death, and the simultaneous health struggles of their daughter, The Year of Magical Thinking is a poignant personal story, layered with universal insight into what it means to lose someone you love. The result is the definitive exploration of bereavement — and a stellar example of creative nonfiction done well.

📚 Looking for more reading recommendations? Check out our list of the best memoirs of the last century .

Tip: What you cut out is just as important as what you keep

When writing a memoir that is focused around a singular theme, it’s important to be selective in what to include, and what to leave out. While broader details of your life may be helpful to provide context, remember to resist the impulse to include too much non-pertinent backstory. By only including what is most relevant, you are able to provide a more focused reader experience, and won’t leave readers guessing what the significance of certain non-essential anecdotes will be.

💡 For more memoir-planning tips, head over to our post on outlining memoirs .

Of course, writing a memoir isn’t the only form of creative nonfiction that lets you tap into your personal life — especially if there’s something more explicit you want to say about the world at large… which brings us onto our next section.

Pen a personal essay that has something bigger to say

Personal essays condense the first-person focus and intimacy of a memoir into a tighter package — tunneling down into a specific aspect of a theme or narrative strand within the author’s personal experience.

Often involving some element of journalistic research, personal essays can provide examples or relevant information that comes from outside the writer’s own experience. This can take the form of other people’s voices quoted in the essay, or facts and stats. By combining lived experiences with external material, personal essay writers can reach toward a bigger message, telling readers something about human behavior or society instead of just letting them know the writer better.

Example: The Empathy Exams by Leslie Jamison

Leslie Jamison's widely acclaimed collection The Empathy Exams  tackles big questions (Why is pain so often performed? Can empathy be “bad”?) by grounding them in the personal. While Jamison draws from her own experiences, both as a medical actor who was paid to imitate pain, and as a sufferer of her own ailments, she also reaches broader points about the world we live in within each of her essays.

Whether she’s talking about the justice system or reality TV, Jamison writes with both vulnerability and poise, using her lived experience as a jumping-off point for exploring the nature of empathy itself.

Tip: Try to show change in how you feel about something

Including external perspectives, as we’ve just discussed above, will help shape your essay, making it meaningful to other people and giving your narrative an arc. 

Ultimately, you may be writing about yourself, but readers can read what they want into it. In a personal narrative, they’re looking for interesting insights or realizations they can apply to their own understanding of their lives or the world — so don’t lose sight of that. As the subject of the essay, you are not so much the topic as the vehicle for furthering a conversation.

Often, there are three clear stages in an essay:

• Initial state 
• Encounter with something external
• New, changed state, and conclusions

By bringing readers through this journey with you, you can guide them to new outlooks and demonstrate how your story is still relevant to them.

Had enough of writing about your own life? Let’s look at a form of creative nonfiction that allows you to get outside of yourself.

Tell a factual story as though it were a novel

The form of creative nonfiction that is perhaps closest to conventional nonfiction is literary journalism. Here, the stories are all fact, but they are presented with a creative flourish. While the stories being told might comfortably inhabit a newspaper or history book, they are presented with a sense of literary significance, and writers can make use of literary techniques and character-driven storytelling.

Unlike news reporters, literary journalists can make room for their own perspectives: immersing themselves in the very action they recount. Think of them as both characters and narrators — but every word they write is true. 

If you think literary journalism is up your street, think about the kinds of stories that capture your imagination the most, and what those stories have in common. Are they, at their core, character studies? Parables? An invitation to a new subculture you have never before experienced? Whatever piques your interest, immerse yourself.

Example: The Botany of Desire by Michael Pollan

If you’re looking for an example of literary journalism that tells a great story, look no further than Michael Pollan’s The Botany of Desire: A Plant’s-Eye View of the World , which sits at the intersection of food writing and popular science. Though it purports to offer a “plant’s-eye view of the world,” it’s as much about human desires as it is about the natural world.

Through the history of four different plants and human’s efforts to cultivate them, Pollan uses first-hand research as well as archival facts to explore how we attempt to domesticate nature for our own pleasure, and how these efforts can even have devastating consequences. Pollan is himself a character in the story, and makes what could be a remarkably dry topic accessible and engaging in the process.

Tip: Don’t pretend that you’re perfectly objective

You may have more room for your own perspective within literary journalism, but with this power comes great responsibility. Your responsibilities toward the reader remain the same as that of a journalist: you must, whenever possible, acknowledge your own biases or conflicts of interest, as well as any limitations on your research. 

Thankfully, the fact that literary journalism often involves a certain amount of immersion in the narrative — that is, the writer acknowledges their involvement in the process — you can touch on any potential biases explicitly, and make it clear that the story you’re telling, while true to what you experienced, is grounded in your own personal perspective.

Approach a famous name with a unique approach 

Biographies are the chronicle of a human life, from birth to the present or, sometimes, their demise. Often, fact is stranger than fiction, and there is no shortage of fascinating figures from history to discover. As such, a biographical approach to creative nonfiction will leave you spoilt for choice in terms of subject matter.

Because they’re not written by the subjects themselves (as memoirs are), biographical nonfiction requires careful research. If you plan to write one, do everything in your power to verify historical facts, and interview the subject’s family, friends, and acquaintances when possible. Despite the necessity for candor, you’re still welcome to approach biography in a literary way — a great creative biography is both truthful and beautifully written.

Example: American Prometheus  by Kai Bird and Martin J. Sherwin

Alongside the need for you to present the truth is a duty to interpret that evidence with imagination, and present it in the form of a story. Demonstrating a novelist’s skill for plot and characterization, Kai Bird and Martin J. Sherwin’s American Prometheus is a great example of creative nonfiction that develops a character right in front of the readers’ eyes.

American Prometheus follows J. Robert Oppenheimer from his bashful childhood to his role as the father of the atomic bomb, all the way to his later attempts to reckon with his violent legacy.

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The biography tells a story that would fit comfortably in the pages of a tragic novel, but is grounded in historical research. Clocking in at a hefty 721 pages, American Prometheus distills an enormous volume of archival material, including letters, FBI files, and interviews into a remarkably readable volume. 

📚 For more examples of world-widening, eye-opening biographies, check out our list of the 30 best biographies of all time .

Tip: The good stuff lies in the mundane details

Biographers are expected to undertake academic-grade research before they put pen to paper. You will, of course, read any existing biographies on the person you’re writing about, and visit any archives containing relevant material. If you’re lucky, there’ll be people you can interview who knew your subject personally — but even if there aren’t, what’s going to make your biography stand out is paying attention to details, even if they seem mundane at first.

Of course, no one cares which brand of slippers a former US President wore — gossip is not what we’re talking about. But if you discover that they took a long, silent walk every single morning, that’s a granular detail you could include to give your readers a sense of the weight they carried every day. These smaller details add up to a realistic portrait of a living, breathing human being.

But creative nonfiction isn’t just writing about yourself or other people. Writing about art is also an art, as we’ll see below.

Put your favorite writers through the wringer with literary criticism

Literary criticism is often associated with dull, jargon-laden college dissertations — but it can be a wonderfully rewarding form that blurs the lines between academia and literature itself. When tackled by a deft writer, a literary critique can be just as engrossing as the books it analyzes.

Many of the sharpest literary critics are also poets, poetry editors , novelists, or short story writers, with first-hand awareness of literary techniques and the ability to express their insights with elegance and flair. Though literary criticism sounds highly theoretical, it can be profoundly intimate: you’re invited to share in someone’s experience as a reader or writer — just about the most private experience there is.

Example: The Madwoman in the Attic by Sandra M. Gilbert and Susan Gubar

Take The Madwoman in the Attic by Sandra M. Gilbert and Susan Gubar, a seminal work approaching Victorian literature from a feminist perspective. Written as a conversation between two friends and academics, this brilliant book reads like an intellectual brainstorming session in a casual dining venue. Highly original, accessible, and not suffering from the morose gravitas academia is often associated with, this text is a fantastic example of creative nonfiction.

Tip: Remember to make your critiques creative

Literary criticism may be a serious undertaking, but unless you’re trying to pitch an academic journal, you’ll need to be mindful of academic jargon and convoluted sentence structure. Don’t forget that the point of popular literary criticism is to make ideas accessible to readers who aren’t necessarily academics, introducing them to new ways of looking at anything they read. 

If you’re not feeling confident, a professional nonfiction editor could help you confirm you’ve hit the right stylistic balance.

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Is creative nonfiction looking a little bit clearer now? You can try your hand at the genre , or head to the next post in this guide and discover online classes where you can hone your skills at creative writing.

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