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• How to write a literary analysis essay | A step-by-step guide

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

Published on January 30, 2020 by Jack Caulfield . Revised on August 14, 2023.

Literary analysis means closely studying a text, interpreting its meanings, and exploring why the author made certain choices. It can be applied to novels, short stories, plays, poems, or any other form of literary writing.

A literary analysis essay is not a rhetorical analysis , nor is it just a summary of the plot or a book review. Instead, it is a type of argumentative essay where you need to analyze elements such as the language, perspective, and structure of the text, and explain how the author uses literary devices to create effects and convey ideas.

Before beginning a literary analysis essay, it’s essential to carefully read the text and c ome up with a thesis statement to keep your essay focused. As you write, follow the standard structure of an academic essay :

• An introduction that tells the reader what your essay will focus on.
• A main body, divided into paragraphs , that builds an argument using evidence from the text.
• A conclusion that clearly states the main point that you have shown with your analysis.

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Table of contents

Step 1: reading the text and identifying literary devices, step 2: coming up with a thesis, step 3: writing a title and introduction, step 4: writing the body of the essay, step 5: writing a conclusion, other interesting articles.

The first step is to carefully read the text(s) and take initial notes. As you read, pay attention to the things that are most intriguing, surprising, or even confusing in the writing—these are things you can dig into in your analysis.

Your goal in literary analysis is not simply to explain the events described in the text, but to analyze the writing itself and discuss how the text works on a deeper level. Primarily, you’re looking out for literary devices —textual elements that writers use to convey meaning and create effects. If you’re comparing and contrasting multiple texts, you can also look for connections between different texts.

To get started with your analysis, there are several key areas that you can focus on. As you analyze each aspect of the text, try to think about how they all relate to each other. You can use highlights or notes to keep track of important passages and quotes.

Language choices

Consider what style of language the author uses. Are the sentences short and simple or more complex and poetic?

What word choices stand out as interesting or unusual? Are words used figuratively to mean something other than their literal definition? Figurative language includes things like metaphor (e.g. “her eyes were oceans”) and simile (e.g. “her eyes were like oceans”).

Also keep an eye out for imagery in the text—recurring images that create a certain atmosphere or symbolize something important. Remember that language is used in literary texts to say more than it means on the surface.

Narrative voice

Ask yourself:

• Who is telling the story?
• How are they telling it?

Is it a first-person narrator (“I”) who is personally involved in the story, or a third-person narrator who tells us about the characters from a distance?

Consider the narrator’s perspective . Is the narrator omniscient (where they know everything about all the characters and events), or do they only have partial knowledge? Are they an unreliable narrator who we are not supposed to take at face value? Authors often hint that their narrator might be giving us a distorted or dishonest version of events.

The tone of the text is also worth considering. Is the story intended to be comic, tragic, or something else? Are usually serious topics treated as funny, or vice versa ? Is the story realistic or fantastical (or somewhere in between)?

Consider how the text is structured, and how the structure relates to the story being told.

• Novels are often divided into chapters and parts.
• Poems are divided into lines, stanzas, and sometime cantos.
• Plays are divided into scenes and acts.

Think about why the author chose to divide the different parts of the text in the way they did.

There are also less formal structural elements to take into account. Does the story unfold in chronological order, or does it jump back and forth in time? Does it begin in medias res —in the middle of the action? Does the plot advance towards a clearly defined climax?

With poetry, consider how the rhyme and meter shape your understanding of the text and your impression of the tone. Try reading the poem aloud to get a sense of this.

In a play, you might consider how relationships between characters are built up through different scenes, and how the setting relates to the action. Watch out for  dramatic irony , where the audience knows some detail that the characters don’t, creating a double meaning in their words, thoughts, or actions.

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See an example

Your thesis in a literary analysis essay is the point you want to make about the text. It’s the core argument that gives your essay direction and prevents it from just being a collection of random observations about a text.

If you’re given a prompt for your essay, your thesis must answer or relate to the prompt. For example:

Essay question example

Is Franz Kafka’s “Before the Law” a religious parable?

Your thesis statement should be an answer to this question—not a simple yes or no, but a statement of why this is or isn’t the case:

Thesis statement example

Franz Kafka’s “Before the Law” is not a religious parable, but a story about bureaucratic alienation.

Sometimes you’ll be given freedom to choose your own topic; in this case, you’ll have to come up with an original thesis. Consider what stood out to you in the text; ask yourself questions about the elements that interested you, and consider how you might answer them.

Your thesis should be something arguable—that is, something that you think is true about the text, but which is not a simple matter of fact. It must be complex enough to develop through evidence and arguments across the course of your essay.

Say you’re analyzing the novel Frankenstein . You could start by asking yourself:

Your initial answer might be a surface-level description:

The character Frankenstein is portrayed negatively in Mary Shelley’s Frankenstein .

However, this statement is too simple to be an interesting thesis. After reading the text and analyzing its narrative voice and structure, you can develop the answer into a more nuanced and arguable thesis statement:

Mary Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as.

Remember that you can revise your thesis statement throughout the writing process , so it doesn’t need to be perfectly formulated at this stage. The aim is to keep you focused as you analyze the text.

Finding textual evidence

To support your thesis statement, your essay will build an argument using textual evidence —specific parts of the text that demonstrate your point. This evidence is quoted and analyzed throughout your essay to explain your argument to the reader.

It can be useful to comb through the text in search of relevant quotations before you start writing. You might not end up using everything you find, and you may have to return to the text for more evidence as you write, but collecting textual evidence from the beginning will help you to structure your arguments and assess whether they’re convincing.

To start your literary analysis paper, you’ll need two things: a good title, and an introduction.

Your title should clearly indicate what your analysis will focus on. It usually contains the name of the author and text(s) you’re analyzing. Keep it as concise and engaging as possible.

A common approach to the title is to use a relevant quote from the text, followed by a colon and then the rest of your title.

If you struggle to come up with a good title at first, don’t worry—this will be easier once you’ve begun writing the essay and have a better sense of your arguments.

“Fearful symmetry” : The violence of creation in William Blake’s “The Tyger”

The introduction

The essay introduction provides a quick overview of where your argument is going. It should include your thesis statement and a summary of the essay’s structure.

A typical structure for an introduction is to begin with a general statement about the text and author, using this to lead into your thesis statement. You might refer to a commonly held idea about the text and show how your thesis will contradict it, or zoom in on a particular device you intend to focus on.

Then you can end with a brief indication of what’s coming up in the main body of the essay. This is called signposting. It will be more elaborate in longer essays, but in a short five-paragraph essay structure, it shouldn’t be more than one sentence.

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

Some students prefer to write the introduction later in the process, and it’s not a bad idea. After all, you’ll have a clearer idea of the overall shape of your arguments once you’ve begun writing them!

If you do write the introduction first, you should still return to it later to make sure it lines up with what you ended up writing, and edit as necessary.

The body of your essay is everything between the introduction and conclusion. It contains your arguments and the textual evidence that supports them.

Paragraph structure

A typical structure for a high school literary analysis essay consists of five paragraphs : the three paragraphs of the body, plus the introduction and conclusion.

Each paragraph in the main body should focus on one topic. In the five-paragraph model, try to divide your argument into three main areas of analysis, all linked to your thesis. Don’t try to include everything you can think of to say about the text—only analysis that drives your argument.

In longer essays, the same principle applies on a broader scale. For example, you might have two or three sections in your main body, each with multiple paragraphs. Within these sections, you still want to begin new paragraphs at logical moments—a turn in the argument or the introduction of a new idea.

Robert’s first encounter with Gil-Martin suggests something of his sinister power. Robert feels “a sort of invisible power that drew me towards him.” He identifies the moment of their meeting as “the beginning of a series of adventures which has puzzled myself, and will puzzle the world when I am no more in it” (p. 89). Gil-Martin’s “invisible power” seems to be at work even at this distance from the moment described; before continuing the story, Robert feels compelled to anticipate at length what readers will make of his narrative after his approaching death. With this interjection, Hogg emphasizes the fatal influence Gil-Martin exercises from his first appearance.

Topic sentences

To keep your points focused, it’s important to use a topic sentence at the beginning of each paragraph.

A good topic sentence allows a reader to see at a glance what the paragraph is about. It can introduce a new line of argument and connect or contrast it with the previous paragraph. Transition words like “however” or “moreover” are useful for creating smooth transitions:

… The story’s focus, therefore, is not upon the divine revelation that may be waiting beyond the door, but upon the mundane process of aging undergone by the man as he waits.

Nevertheless, the “radiance” that appears to stream from the door is typically treated as religious symbolism.

This topic sentence signals that the paragraph will address the question of religious symbolism, while the linking word “nevertheless” points out a contrast with the previous paragraph’s conclusion.

Using textual evidence

A key part of literary analysis is backing up your arguments with relevant evidence from the text. This involves introducing quotes from the text and explaining their significance to your point.

It’s important to contextualize quotes and explain why you’re using them; they should be properly introduced and analyzed, not treated as self-explanatory:

It isn’t always necessary to use a quote. Quoting is useful when you’re discussing the author’s language, but sometimes you’ll have to refer to plot points or structural elements that can’t be captured in a short quote.

In these cases, it’s more appropriate to paraphrase or summarize parts of the text—that is, to describe the relevant part in your own words:

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The conclusion of your analysis shouldn’t introduce any new quotations or arguments. Instead, it’s about wrapping up the essay. Here, you summarize your key points and try to emphasize their significance to the reader.

A good way to approach this is to briefly summarize your key arguments, and then stress the conclusion they’ve led you to, highlighting the new perspective your thesis provides on the text as a whole:

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

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By tracing the depiction of Frankenstein through the novel’s three volumes, I have demonstrated how the narrative structure shifts our perception of the character. While the Frankenstein of the first volume is depicted as having innocent intentions, the second and third volumes—first in the creature’s accusatory voice, and then in his own voice—increasingly undermine him, causing him to appear alternately ridiculous and vindictive. Far from the one-dimensional villain he is often taken to be, the character of Frankenstein is compelling because of the dynamic narrative frame in which he is placed. In this frame, Frankenstein’s narrative self-presentation responds to the images of him we see from others’ perspectives. This conclusion sheds new light on the novel, foregrounding Shelley’s unique layering of narrative perspectives and its importance for the depiction of character.

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A Short Guide to Close Reading for Literary Analysis

Use the guidelines below to learn about the practice of close reading.

When your teachers or professors ask you to analyze a literary text, they often look for something frequently called close reading. Close reading is deep analysis of how a literary text works; it is both a reading process and something you include in a literary analysis paper, though in a refined form.

Fiction writers and poets build texts out of many central components, including subject, form, and specific word choices. Literary analysis involves examining these components, which allows us to find in small parts of the text clues to help us understand the whole. For example, if an author writes a novel in the form of a personal journal about a character’s daily life, but that journal reads like a series of lab reports, what do we learn about that character? What is the effect of picking a word like “tome” instead of “book”? In effect, you are putting the author’s choices under a microscope.

The process of close reading should produce a lot of questions. It is when you begin to answer these questions that you are ready to participate thoughtfully in class discussion or write a literary analysis paper that makes the most of your close reading work.

Close reading sometimes feels like over-analyzing, but don’t worry. Close reading is a process of finding as much information as you can in order to form as many questions as you can. When it is time to write your paper and formalize your close reading, you will sort through your work to figure out what is most convincing and helpful to the argument you hope to make and, conversely, what seems like a stretch. This guide imagines you are sitting down to read a text for the first time on your way to developing an argument about a text and writing a paper. To give one example of how to do this, we will read the poem “Design” by famous American poet Robert Frost and attend to four major components of literary texts: subject, form, word choice (diction), and theme.

If you want even more information about approaching poems specifically, take a look at our guide: How to Read a Poem .

As our guide to reading poetry suggests, have a pencil out when you read a text. Make notes in the margins, underline important words, place question marks where you are confused by something. Of course, if you are reading in a library book, you should keep all your notes on a separate piece of paper. If you are not making marks directly on, in, and beside the text, be sure to note line numbers or even quote portions of the text so you have enough context to remember what you found interesting.

Design I found a dimpled spider, fat and white, On a white heal-all, holding up a moth Like a white piece of rigid satin cloth— Assorted characters of death and blight Mixed ready to begin the morning right, Like the ingredients of a witches’ broth— A snow-drop spider, a flower like a froth, And dead wings carried like a paper kite. What had that flower to do with being white, The wayside blue and innocent heal-all? What brought the kindred spider to that height, Then steered the white moth thither in the night? What but design of darkness to appall?— If design govern in a thing so small.

The subject of a literary text is simply what the text is about. What is its plot? What is its most important topic? What image does it describe? It’s easy to think of novels and stories as having plots, but sometimes it helps to think of poetry as having a kind of plot as well. When you examine the subject of a text, you want to develop some preliminary ideas about the text and make sure you understand its major concerns before you dig deeper.

Observations

In “Design,” the speaker describes a scene: a white spider holding a moth on a white flower. The flower is a heal-all, the blooms of which are usually violet-blue. This heal-all is unusual. The speaker then poses a series of questions, asking why this heal-all is white instead of blue and how the spider and moth found this particular flower. How did this situation arise?

The speaker’s questions seem simple, but they are actually fairly nuanced. We can use them as a guide for our own as we go forward with our close reading.

• Furthering the speaker’s simple “how did this happen,” we might ask, is the scene in this poem a manufactured situation?
• The white moth and white spider each use the atypical white flower as camouflage in search of sanctuary and supper respectively. Did these flora and fauna come together for a purpose?
• Does the speaker have a stance about whether there is a purpose behind the scene? If so, what is it?
• How will other elements of the text relate to the unpleasantness and uncertainty in our first look at the poem’s subject?

After thinking about local questions, we have to zoom out. Ultimately, what is this text about?

Form is how a text is put together. When you look at a text, observe how the author has arranged it. If it is a novel, is it written in the first person? How is the novel divided? If it is a short story, why did the author choose to write short-form fiction instead of a novel or novella? Examining the form of a text can help you develop a starting set of questions in your reading, which then may guide further questions stemming from even closer attention to the specific words the author chooses. A little background research on form and what different forms can mean makes it easier to figure out why and how the author’s choices are important.

Most poems follow rules or principles of form; even free verse poems are marked by the author’s choices in line breaks, rhythm, and rhyme—even if none of these exists, which is a notable choice in itself. Here’s an example of thinking through these elements in “Design.”

In “Design,” Frost chooses an Italian (or Petrarchan) sonnet form: fourteen lines in iambic pentameter consisting of an octave (a stanza of eight lines) and a sestet (a stanza of six lines). We will focus on rhyme scheme and stanza structure rather than meter for the purposes of this guide. A typical Italian sonnet has a specific rhyme scheme for the octave:

a b b a a b b a

There’s more variation in the sestet rhymes, but one of the more common schemes is

c d e c d e

Conventionally, the octave introduces a problem or question which the sestet then resolves. The point at which the sonnet goes from the problem/question to the resolution is called the volta, or turn. (Note that we are speaking only in generalities here; there is a great deal of variation.)

Frost uses the usual octave scheme with “-ite”/”-ight” (a) and “oth” (b) sounds: “white,” “moth,” “cloth,” “blight,” “right,” “broth,” “froth,” “kite.” However, his sestet follows an unusual scheme with “-ite”/”-ight” and “all” sounds:

a c a a c c

Now, we have a few questions with which we can start:

• Why use an Italian sonnet?
• Why use an unusual scheme in the sestet?
• What problem/question and resolution (if any) does Frost offer?
• What is the volta in this poem?
• In other words, what is the point?

Italian sonnets have a long tradition; many careful readers recognize the form and know what to expect from his octave, volta, and sestet. Frost seems to do something fairly standard in the octave in presenting a situation; however, the turn Frost makes is not to resolution, but to questions and uncertainty. A white spider sitting on a white flower has killed a white moth.

• How did these elements come together?
• Was the moth’s death random or by design?
• Is one worse than the other?

We can guess right away that Frost’s disruption of the usual purpose of the sestet has something to do with his disruption of its rhyme scheme. Looking even more closely at the text will help us refine our observations and guesses.

Word Choice, or Diction

Looking at the word choice of a text helps us “dig in” ever more deeply. If you are reading something longer, are there certain words that come up again and again? Are there words that stand out? While you are going through this process, it is best for you to assume that every word is important—again, you can decide whether something is really important later.

Even when you read prose, our guide for reading poetry offers good advice: read with a pencil and make notes. Mark the words that stand out, and perhaps write the questions you have in the margins or on a separate piece of paper. If you have ideas that may possibly answer your questions, write those down, too.

Let’s take a look at the first line of “Design”:

I found a dimpled spider, fat and white

The poem starts with something unpleasant: a spider. Then, as we look more closely at the adjectives describing the spider, we may see connotations of something that sounds unhealthy or unnatural. When we imagine spiders, we do not generally picture them dimpled and white; it is an uncommon and decidedly creepy image. There is dissonance between the spider and its descriptors, i.e., what is wrong with this picture? Already we have a question: what is going on with this spider?

We should look for additional clues further on in the text. The next two lines develop the image of the unusual, unpleasant-sounding spider:

On a white heal-all, holding up a moth Like a white piece of rigid satin cloth—

Now we have a white flower (a heal-all, which usually has a violet-blue flower) and a white moth in addition to our white spider. Heal-alls have medicinal properties, as their name suggests, but this one seems to have a genetic mutation—perhaps like the spider? Does the mutation that changes the heal-all’s color also change its beneficial properties—could it be poisonous rather than curative? A white moth doesn’t seem remarkable, but it is “Like a white piece of rigid satin cloth,” or like manmade fabric that is artificially “rigid” rather than smooth and flowing like we imagine satin to be. We might think for a moment of a shroud or the lining of a coffin, but even that is awry, for neither should be stiff with death.

The first three lines of the poem’s octave introduce unpleasant natural images “of death and blight” (as the speaker puts it in line four). The flower and moth disrupt expectations: the heal-all is white instead of “blue and innocent,” and the moth is reduced to “rigid satin cloth” or “dead wings carried like a paper kite.” We might expect a spider to be unpleasant and deadly; the poem’s spider also has an unusual and unhealthy appearance.

• The focus on whiteness in these lines has more to do with death than purity—can we understand that whiteness as being corpse-like rather than virtuous?

Well before the volta, Frost makes a “turn” away from nature as a retreat and haven; instead, he unearths its inherent dangers, making nature menacing. From three lines alone, we have a number of questions:

• Will whiteness play a role in the rest of the poem?
• How does “design”—an arrangement of these circumstances—fit with a scene of death?
• What other juxtapositions might we encounter?

These disruptions and dissonances recollect Frost’s alteration to the standard Italian sonnet form: finding the ways and places in which form and word choice go together will help us begin to unravel some larger concepts the poem itself addresses.

Put simply, themes are major ideas in a text. Many texts, especially longer forms like novels and plays, have multiple themes. That’s good news when you are close reading because it means there are many different ways you can think through the questions you develop.

So far in our reading of “Design,” our questions revolve around disruption: disruption of form, disruption of expectations in the description of certain images. Discovering a concept or idea that links multiple questions or observations you have made is the beginning of a discovery of theme.

What is happening with disruption in “Design”? What point is Frost making? Observations about other elements in the text help you address the idea of disruption in more depth. Here is where we look back at the work we have already done: What is the text about? What is notable about the form, and how does it support or undermine what the words say? Does the specific language of the text highlight, or redirect, certain ideas?

In this example, we are looking to determine what kind(s) of disruption the poem contains or describes. Rather than “disruption,” we want to see what kind of disruption, or whether indeed Frost uses disruptions in form and language to communicate something opposite: design.

Sample Analysis

After you make notes, formulate questions, and set tentative hypotheses, you must analyze the subject of your close reading. Literary analysis is another process of reading (and writing!) that allows you to make a claim about the text. It is also the point at which you turn a critical eye to your earlier questions and observations to find the most compelling points, discarding the ones that are a “stretch.” By “stretch,” we mean that we must discard points that are fascinating but have no clear connection to the text as a whole. (We recommend a separate document for recording the brilliant ideas that don’t quite fit this time around.)

Here follows an excerpt from a brief analysis of “Design” based on the close reading above. This example focuses on some lines in great detail in order to unpack the meaning and significance of the poem’s language. By commenting on the different elements of close reading we have discussed, it takes the results of our close reading to offer one particular way into the text. (In case you were thinking about using this sample as your own, be warned: it has no thesis and it is easily discoverable on the web. Plus it doesn’t have a title.)

Frost’s speaker brews unlikely associations in the first stanza of the poem. The “Assorted characters of death and blight / Mixed ready to begin the morning right” make of the grotesque scene an equally grotesque mockery of a breakfast cereal (4–5). These lines are almost singsong in meter and it is easy to imagine them set to a radio jingle. A pun on “right”/”rite” slides the “characters of death and blight” into their expected concoction: a “witches’ broth” (6). These juxtapositions—a healthy breakfast that is also a potion for dark magic—are borne out when our “fat and white” spider becomes “a snow-drop”—an early spring flower associated with renewal—and the moth as “dead wings carried like a paper kite” (1, 7, 8). Like the mutant heal-all that hosts the moth’s death, the spider becomes a deadly flower; the harmless moth becomes a child’s toy, but as “dead wings,” more like a puppet made of a skull. The volta offers no resolution for our unsettled expectations. Having observed the scene and detailed its elements in all their unpleasantness, the speaker turns to questions rather than answers. How did “The wayside blue and innocent heal-all” end up white and bleached like a bone (10)? How did its “kindred spider” find the white flower, which was its perfect hiding place (11)? Was the moth, then, also searching for camouflage, only to meet its end? Using another question as a disguise, the speaker offers a hypothesis: “What but design of darkness to appall?” (13). This question sounds rhetorical, as though the only reason for such an unlikely combination of flora and fauna is some “design of darkness.” Some force, the speaker suggests, assembled the white spider, flower, and moth to snuff out the moth’s life. Such a design appalls, or horrifies. We might also consider the speaker asking what other force but dark design could use something as simple as appalling in its other sense (making pale or white) to effect death. However, the poem does not close with a question, but with a statement. The speaker’s “If design govern in a thing so small” establishes a condition for the octave’s questions after the fact (14). There is no point in considering the dark design that brought together “assorted characters of death and blight” if such an event is too minor, too physically small to be the work of some force unknown. Ending on an “if” clause has the effect of rendering the poem still more uncertain in its conclusions: not only are we faced with unanswered questions, we are now not even sure those questions are valid in the first place. Behind the speaker and the disturbing scene, we have Frost and his defiance of our expectations for a Petrarchan sonnet. Like whatever designer may have altered the flower and attracted the spider to kill the moth, the poet built his poem “wrong” with a purpose in mind. Design surely governs in a poem, however small; does Frost also have a dark design? Can we compare a scene in nature to a carefully constructed sonnet?

A Note on Organization

Your goal in a paper about literature is to communicate your best and most interesting ideas to your reader. Depending on the type of paper you have been assigned, your ideas may need to be organized in service of a thesis to which everything should link back. It is best to ask your instructor about the expectations for your paper.

Knowing how to organize these papers can be tricky, in part because there is no single right answer—only more and less effective answers. You may decide to organize your paper thematically, or by tackling each idea sequentially; you may choose to order your ideas by their importance to your argument or to the poem. If you are comparing and contrasting two texts, you might work thematically or by addressing first one text and then the other. One way to approach a text may be to start with the beginning of the novel, story, play, or poem, and work your way toward its end. For example, here is the rough structure of the example above: The author of the sample decided to use the poem itself as an organizational guide, at least for this part of the analysis.

• A paragraph about the octave.
• A paragraph about the volta.
• A paragraph about the penultimate line (13).
• A paragraph about the final line (14).
• A paragraph addressing form that suggests a transition to the next section of the paper.

You will have to decide for yourself the best way to communicate your ideas to your reader. Is it easier to follow your points when you write about each part of the text in detail before moving on? Or is your work clearer when you work through each big idea—the significance of whiteness, the effect of an altered sonnet form, and so on—sequentially?

We suggest you write your paper however is easiest for you then move things around during revision if you need to.

Further Reading

If you really want to master the practice of reading and writing about literature, we recommend Sylvan Barnet and William E. Cain’s wonderful book, A Short Guide to Writing about Literature . Barnet and Cain offer not only definitions and descriptions of processes, but examples of explications and analyses, as well as checklists for you, the author of the paper. The Short Guide is certainly not the only available reference for writing about literature, but it is an excellent guide and reminder for new writers and veterans alike.

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How to Do a Close Reading

Use the links below to jump directly to any section of this guide:

Close Reading Fundamentals

How to choose a passage to close-read, how to approach a close reading, how to annotate a passage, how to improve your close reading, how to practice close reading, how to incorporate close readings into an essay, how to teach close reading, additional resources for advanced students.

Close reading engages with the formal properties of a text—its literary devices, language, structure, and style. Popularized in the mid-twentieth century, this way of reading allows you to interpret a text without outside information such as historical context, author biography, philosophy, or political ideology. It also requires you to put aside your affective (that is, personal and emotional) response to the text, focusing instead on objective study. Why close-read a text? Doing so will increase your understanding of how a piece of writing works, as well as what it means. Perhaps most importantly, close reading can help you develop and support an essay argument. In this guide, you'll learn more about what close reading entails and find strategies for producing precise, creative close readings. We've included a section with resources for teachers, along with a final section with further reading for advanced students.

You might compare close reading to wringing out a wet towel, in which you twist the material repeatedly until you have extracted as much liquid as possible. When you close-read, you'll return to a short passage several times in order to note as many details about its form and content as possible. Use the links below to learn more about close reading's place in literary history and in the classroom.

"Close Reading" (Wikipedia)

Wikipedia's relatively short introduction to close reading contains sections on background, examples, and how to teach close reading. You can also click the links on this page to learn more about the literary critics who pioneered the method.

"Close Reading: A Brief Note" (Literariness.org)

This article provides a condensed discussion of what close reading is, how it works, and how it is different from other ways of reading a literary text.

"What Close Reading Actually Means" ( TeachThought )

In this article by an Ed.D., you'll learn what close reading "really means" in the classroom today—a meaning that has shifted significantly from its original place in 20th century literary criticism.

"Close Reading" (Univ. of Washington)

This hand-out from a college writing course defines close reading, suggests  why  we close-read, and offers tips for close reading successfully, including focusing on language, audience, and scope.

"Glossary Entry on New Criticism" (Poetry Foundation)

If you'd like to read a short introduction to the school of thought that gave rise to close reading, this is the place to go. Poetry Foundation's entry on New Criticism is concise and accessible.

"New Criticism" (Washington State Univ.)

This webpage from a college writing course offers another brief explanation of close reading in relation to New Criticism. It provides some key questions to help you think like a New Critic.

When choosing a passage to close-read, you'll want to look for relatively short bits of text that are rich in detail. The resources below offer more tips and tricks for selecting passages, along with links to pre-selected passages you can print for use at home or in the classroom.

"How to Choose the Perfect Passage for Close Reading" ( We Are Teachers )

This post from a former special education teacher describes six characteristics you might look for when selecting a close reading passage from a novel: beginnings, pivotal plot points, character changes, high-density passages, "Q&A" passages, and "aesthetic" passages. 

"Close Reading Passages" (Reading Sage)

Reading Sage provides links to close reading passages you can use as is; alternatively, you could also use them as models for selecting your own passages. The page is divided into sections geared toward elementary, middle school, and early high school students.

"Close Reading" (Univ. of Guelph)

The University of Guelph's guide to close reading contains a short section on how to "Select a Passage." The author suggests that you choose a brief passage. 

"Close Reading Advice" (Prezi)

This Prezi was created by an AP English teacher. The opening section on passage selection suggests choosing "thick paragraphs" filled with "figurative language and rich details or description."

Now that you know how to select a passage to analyze, you'll need to familiarize yourself with the textual qualities you should look for when reading. Whether you're approaching a poem, a novel, or a magazine article, details on the level of language (literary devices) and form (formal features) convey meaning. Understanding  how  a text communicates will help you understand  what  it is communicating. The links in this section will familiarize you with the tools you need to start a close reading.

Literary Devices

"Literary Devices and Terms" (LitCharts)

LitCharts' dedicated page covers 130+ literary devices. Also known as "rhetorical devices," "figures of speech," or "elements of style," these linguistic constructions are the building blocks of literature. Some of the most common include  simile , metaphor , alliteration , and onomatopoeia ; browse the links on LitCharts to learn about many more. 

"Rhetorical Device" (Wikipedia)

Wikipedia's page on rhetorical devices defines the term in relation to the ancient art of "rhetoric" or persuasive speaking. At the bottom of the page, you'll find links to several online handbooks and lists of rhetorical devices.

"15 Must Know Rhetorical Terms for AP English Literature" ( Albert )

The  Albert blog   offers this list of 15 rhetorical devices that high school English students should know how to define and spot in a literary text; though geared toward the Advanced Placement exam, its tips are widely applicable.

"The 55 AP Language and Composition Terms You Must Know" (PrepScholar)

This blog post lists 55 terms high school students should learn how to recognize and define for the Advanced Placement exam in English Literature.

Formal Features

In LitCharts' bank of literary devices and terms, you'll also find resources to describe a text's structure and overall character. Some of the most important of these are  rhyme , meter , and  tone ; browse the page to find more. 

"Rhythm" ( Encyclopedia Britannica )

This encyclopedia entry on rhythm and meter offers an in-depth definition of the two most fundamental aspects of poetry.

"How to Analyze Syntax for AP English Literature" ( Albert)

The Albert blog will help you understand what "syntax" is, making a case for why you should pay attention to sentence structure when analyzing a literary text.

"Grammar Basics: Sentence Parts and Sentence Structures" ( ThoughtCo )

This article provides a meticulous overview of the components of a sentence. It's useful if you need to review your parts of speech or if you need to be able to identify things like prepositional phrases.

"Style, Diction, Tone, and Voice" (Wheaton College)

Wheaton College's Writing Center offers this clear, concise discussion of several important formal features. Although it's designed to help essay writers, it will also help you understand and spot these stylistic features in others' work. 

Now that you know what rhetorical devices, formal features, and other details to look for, you're ready to find them in a text. For this purpose, it is crucial to annotate (write notes) as you read and re-read. Each time you return to the text, you'll likely notice something new; these observations will form the basis of your close reading. The resources in this section offer some concrete strategies for annotating literary texts.

"How to Annotate a Text" (LitCharts)

Begin by consulting our  How to Annotate a Text  guide. This collection of links and resources is helpful for short passages (that is, those for close reading) as well as longer works, like whole novels or poems.

"Annotation Guide" (Covington Catholic High School)

This hand-out from a high school teacher will help you understand why we annotate, and how to annotate a text successfully. You might choose to incorporate some of the interpretive notes and symbols suggested here.

"Annotating Literature" (New Canaan Public Schools)

This one-page, introductory resource provides a list of 10 items you should look for when reading a text, including attitude and theme.

"Purposeful Annotation" (Dave Stuart Jr.)

This article from a high school teacher's blog describes the author's top close reading strategy: purposeful annotation. In fact, this teacher more or less equates close reading with annotation.

Looking for ways to improve your close reading? The articles, guides, and videos in this section will expose you to various methods of close reading, as well as practice exercises. No two people read exactly the same way. Whatever your level of expertise, it can be useful to broaden your skill set by testing the techniques suggested by the resources below.

"How to Do a Close Reading" (Harvard College Writing Center)

This article, part of Harvard's comprehensive "Strategies for Essay Writing Guide," describes three steps to a successful close reading. You will want to return to this resource when incorporating your close reading into an essay.

"A Short Guide to Close Reading for Literary Analysis" (Univ. of Wisconsin-Madison Writing Center)

Working through this guide from another college writing center will help you move through the process of close reading a text. You'll find a sample analysis of Robert Frost's "Design" at the end.

"How to Do a Close Reading of a Text" (YouTube)

This four-minute video from the "Literacy and Math Ideas" channel offers a number of helpful tips for reading a text closely in accordance with Common Core standards.

"Poetry: Close Reading" (Purdue OWL)

Short, dense poems are a natural fit for the close reading approach. This page from the Purdue Online Writing Lab takes you step-by-step through an analysis of Shakespeare's Sonnet 116.

"Steps for Close Reading or Explication de Texte" ( The Literary Link )

This page, which mentions close reading's close relationship to the French formalist method of  "explication de texte," shares "12 Steps to Literary Awareness."

You can practice your close reading skills by reading, re-reading and annotating any brief passage of text. The resources below will get you started by offering pre-selected passages and questions to guide your reading. You'll find links to resources that are designed for students of all levels, from elementary school through college.

"Notes on Close Reading" (MIT Open Courseware)

This resource describes steps you can work through when close reading, providing a passage from Mary Shelley's  Frankenstein  for you to test your skills.

"Close Reading Practice Worksheets" (Gillian Duff's English Resources)

Here, you'll find 10 close reading-centered worksheets you can download and print. The "higher-close-reading-formula" link at the bottom of the page provides a chart with even more steps and strategies for close reading.

"Close Reading Activities" (Education World)

The four activities described on this page are best suited to elementary and middle school students. Under each heading is a link to handouts or detailed descriptions of the activity.

"Close Reading Practice Passages: High School" (Varsity Tutors)

This webpage from Varsity Tutors contains over a dozen links to close reading passages and exercises, including several resources that focus on close-reading satire.

"Benjamin Franklin's Satire of Witch Hunting" (America in Class)

This page contains both a "teacher's guide" and "student version" to interpreting Benjamin Franklin's satire of a witch trial. The thirteen close reading questions on the right side of the page will help you analyze the text thoroughly.

Whether you're writing a research paper or an essay, close reading can help you build an argument. Careful analysis of your primary texts allows you to draw out meanings you want to emphasize, thereby supporting your central claim. The resources in this section introduce you to strategies suited to various common writing assignments.

"How to Write a Research Paper" (LitCharts)

The resources in this guide will help you learn to formulate a thesis, organize evidence, write an outline, and draft a research paper, one of the two most common assignments in which you might incorporate close reading.

"How to Write an Essay" (LitCharts)

In this guide, you'll learn how to plan, draft, and revise an essay, whether for the classroom or as a take-home assignment. Close reading goes hand in hand with the brainstorming and drafting processes for essay writing.

"Guide to the Close Reading Essay" (Univ. of Warwick)

This guide was designed for undergraduates, and assumes prior knowledge of formal features and rhetorical devices one might find in a poem. High schoolers will find it useful after addressing the "elements of a close reading" section above.

"Beginning the Academic Essay" (Harvard College Writing Center)

Harvard's guide discusses the broader category of the "academic essay." Here, the author assumes that your essay's close readings will be accompanied by context and evidence from secondary sources. 

A Short Guide to Writing About Literature (Amazon)

Sylvan Barnet and William E. Cain emphasize that writing is a process. In their book, you'll find definitions of important literary terms, examples of successful explications of literary texts, and checklists for essay writers.

Due in part to the Common Core's emphasis on close reading skills, resources for teaching students how to close-read abound. Here, you'll find a wealth of information on how and why we teach students to close-read texts. The first section includes links to activities, exercises, and complete lesson plans. The second section offers background material on the method, along with strategies for implementing close reading in the classroom.

Lesson Plans and Activities

"Four Lessons for Introducing the Fundamental Steps of Close Reading" (Corwin)

Here, Corwin has made the second chapter of Nancy Akhavan's  The Nonfiction Now Lesson Bank, Grades 4 – 8 available online. You'll find four sample lessons to use in the elementary or middle school classroom

"Sonic Patterns: Exploring Poetic Techniques Through Close Reading" ( ReadWriteThink )

This lesson plan for high school students includes material for five 50-minute sessions on sonic patterns (including consonance, assonance, and alliteration). The literary text at hand is Robert Hayden's "Those Winter Sundays."

"Close Reading of a Short Text: Complete Lesson" (McGraw Hill via YouTube)

This eight-minute video describes a complete lesson in which a teacher models close reading of a short text and offers guiding questions.

"Close Reading Model Lessons" (Achieve the Core)

These three model lessons on close reading will help you determine what makes a text "appropriately complex" for the grade level you teach.

Close Reading Bundle (Teachers Pay Teachers)

This top-rated bundle of close reading resources was designed for the middle school classroom. It contains over 150 pages of worksheets, complete lesson plans, and literacy center ideas.

"10 Intriguing Photos to Teach Close Reading and Visual Thinking Skills" ( The New York Times )

The New York Times' s Learning Network has gathered 10 photos from the "What's Going on in This Picture" series that teachers can use to help students develop analytical and visual thinking skills.

"The Close Reading Essay" (Brandeis Univ.)

Brandeis University's writing program offers this detailed set of guidelines and goals you might use when assigning a close reading essay.

Close Reading Resources (Varsity Tutors)

Varsity Tutors has compiled a list of over twenty links to lesson plans, strategies, and activities for teaching elementary, middle school, and high school students to close read.

Background Material and Teaching Strategies

Falling in Love with Close Reading (Amazon)

Christopher Lehman and Kate Roberts aim to show how close reading can be "rigorous, meaningful, and joyous." It offers a three-step "close reading ritual" and engaging lesson plans.

Notice & Note: Strategies for Close Reading (Amazon)

Kylene Beers (a former Senior Reading Researcher at Yale) and Robert E. Probst (a Professor Emeritus of English Education) introduce six "signposts" readers can use to detect significant moments in a work of literature.

"How to Do a Close Reading" (YouTube)

TeachLikeThis offers this four-minute video on teaching students to close-read by looking at a text's language, narrative, syntax, and context.

"Strategy Guide: Close Reading of a Literary Text" ( ReadWriteThink )

This guide for middle school and high school teachers will help you choose texts that are appropriately complex for the grade level you teach, and offers strategies for planning engaging lessons.

"Close Reading Steps for Success" (Appletastic Learning)

Shelly Rees, a teacher with over 20 years of experience, introduces six helpful steps you can use to help your students engage with challenging reading passages. The article is geared toward elementary and middle school teachers.

"4 Steps to Boost Students' Close Reading Skills" ( Amplify )

Doug Fisher, a professor of educational leadership, suggests using these four steps to help students at any grade level learn how to close read. 

Like most tools of literary analysis, close reading has a complex history. It's not necessary to understand the theoretical underpinnings of close reading in order to use this tool. For advanced high school students and college students who ask "why close-read," though, the resources below will serve as useful starting points for discussion.

"Discipline and Parse: The Politics of Close Reading" ( Los Angeles Review of Books )

This book review by a well-known English professor at Columbia provides an engaging, anecdotal introduction to close reading's place in literary history. Robbins points to some of the method's shortcomings, but also elegantly defends it.

"Intentional Fallacy" ( Encyclopedia Britannica )

The literary critics who developed close reading cautioned against judging a text based on the author's intention. This encyclopedia entry offers an expanded definition of this way of reading, called the "intentional fallacy."

"Seven Types of Ambiguity" (Wikipedia)

This Wikipedia article will introduce you to William Empson's Seven Types of Ambiguity  (1930), one of the foundational texts of New Criticism, the school of thought that theorized close reading.

"What is Distant Reading" ( The New York Times)

This article makes it clear that "close reading" isn't the only way to analyze literary texts. It offers a brief introduction to the "distant reading" method of computational criticism pioneered by Franco Moretti in recent years.

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Close Reading

Close reading as analysis.

Close reading is the technique of carefully analyzing a passage’s language, content, structure, and patterns in order to understand what a passage means, what it suggests, and how it connects to the larger work. A close reading delves into what a passage means beyond a superficial level, then links what that passage suggests outward to its broader context. One goal of close reading is to help readers to see facets of the text that they may not have noticed before. To this end, close reading entails “reading out of” a text rather than “reading into” it. Let the text lead, and listen to it.

The goal of close reading is to notice, describe, and interpret details of the text that are already there, rather than to impose your own point of view. As a general rule of thumb, every claim you make should be directly supported by evidence in the text. As the name suggests this technique is best applied to a specific passage or passages rather than a longer piece, almost like a case study.

Use close reading to learn:  

• what the passage says
• what the passage implies
• how the passage connects to its context

Why Close Reading?

Close reading is a fundamental skill for the analysis of any sort of text or discourse, whether it is literary, political, or commercial. It enables you to analyze how a text functions, and it helps you to understand a text’s explicit and implicit goals. The structure, vocabulary, language, imagery, and metaphors used in a text are all crucial to the way it achieves its purpose, and they are therefore all targets for close reading. Practicing close reading will train you to be an intelligent and critical reader of all kinds of writing, from political speeches to television advertisements and from popular novels to classic works of literature.

Wondering how to do a close reading? Click on our Where to Begin section to find out more!

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How to do a close reading essay [Updated 2024]

Close reading refers to the process of interpreting a literary work’s meaning by analyzing both its form and content. In this post, we provide you with strategies for close reading that you can apply to your next assignment or analysis.

What is a close reading?

Close reading involves paying attention to a literary work’s language, style, and overall meaning. It includes looking for patterns, repetitions, oddities, and other significant features of a text. Your goal should be to reveal subtleties and complexities beyond an initial reading.

The primary difference between simply reading a work and doing a close reading is that, in the latter, you approach the text as a kind of detective.

When you’re doing a close reading, a literary work becomes a puzzle. And, as a reader, your job is to pull all the pieces together—both what the text says and how it says it.

How do you do a close reading?

Typically, a close reading focuses on a small passage or section of a literary work. Although you should always consider how the selection you’re analyzing fits into the work as a whole, it’s generally not necessary to include lengthy summaries or overviews in a close reading.

There are several aspects of the text to consider in a close reading:

• Literal Content: Even though a close reading should go beyond an analysis of a text’s literal content, every reading should start there. You need to have a firm grasp of the foundational content of a passage before you can analyze it closely. Use the common journalistic questions (Who? What? When? Where? Why?) to establish the basics like plot, character, and setting.
• Tone: What is the tone of the passage you’re examining? How does the tone influence the entire passage? Is it serious, comic, ironic, or something else?
• Characterization: What do you learn about specific characters from the passage? Who is the narrator or speaker? Watch out for language that reveals the motives and feelings of particular characters.
• Structure: What kind of structure does the work utilize? If it’s a poem, is it written in free or blank verse? If you’re working with a novel, does the structure deviate from certain conventions, like straightforward plot or realism? Does the form contribute to the overall meaning?
• Figurative Language: Examine the passage carefully for similes, metaphors, and other types of figurative language. Are there repetitions of certain figures or patterns of opposition? Do certain words or phrases stand in for larger issues?
• Diction: Diction means word choice. You should look up any words that you don’t know in a dictionary and pay attention to the meanings and etymology of words. Never assume that you know a word’s meaning at first glance. Why might the author choose certain words over others?
• Style and Sound: Pay attention to the work’s style. Does the text utilize parallelism? Are there any instances of alliteration or other types of poetic sound? How do these stylistic features contribute to the passage’s overall meaning?
• Context: Consider how the passage you’re reading fits into the work as a whole. Also, does the text refer to historical or cultural information from the world outside of the text? Does the text reference other literary works?

Once you’ve considered the above features of the passage, reflect on its relationship to the work’s larger themes, ideas, and actions. In the end, a close reading allows you to expand your understanding of a text.

Close reading example

Let’s take a look at how this technique works by examining two stanzas from Lorine Niedecker’s poem, “ I rose from marsh mud ”:

I rose from marsh mud, algae, equisetum, willows, sweet green, noisy birds and frogs to see her wed in the rich rich silence of the church, the little white slave-girl in her diamond fronds.

First, we need to consider the stanzas’ literal content. In this case, the poem is about attending a wedding. Next, we should take note of the poem’s form: four-line stanzas, written in free verse.

From there, we need to look more closely at individual words and phrases. For instance, the first stanza discusses how the speaker “rose from marsh mud” and then lists items like “algae, equisetum, willows” and “sweet green,” all of which are plants. Could the speaker have been gardening before attending the wedding?

Now, juxtapose the first stanza with the second: the speaker leaves the natural world of mud and greenness for the “rich/ rich silence of the church.” Note the repetition of the word, “rich,” and how the poem goes on to describe the “little white slave-girl/ in her diamond fronds,” the necessarily “rich” jewelry that the bride wears at her wedding.

Niedecker’s description of the diamond jewelry as “fronds” refers back to the natural world of plants that the speaker left behind. Note also the similarities in sound between the “frogs” of the first stanza and the “fronds” of the second.

We might conclude from a comparison of the two stanzas that, while the “marsh mud” might be full of “noisy/ birds and frogs,” it’s a far better place to be than the “rich/rich silence of the church.”

Ultimately, even a short close reading of Niedecker’s poem reveals layers of meaning that enhance our understanding of the work’s overall message.

How to write a close reading essay

Getting started.

Before you can write your close reading essay, you need to read the text that you plan to examine at least twice (but often more than that). Follow the above guidelines to break down your close reading into multiple parts.

Once you’ve read the text closely and made notes, you can then create a short outline for your essay. Determine how you want to approach to structure of your essay and keep in mind any specific requirements that your instructor may have for the assignment.

Structure and organization

Some close reading essays will simply analyze the text’s form and content without making a specific argument about the text. Other times, your instructor might want you to use a close reading to support an argument. In these cases, you’ll need to include a thesis statement in the introduction to your close reading essay.

You’ll organize your essay using the standard essay format. This includes an introduction, body paragraphs, and a conclusion. Most of your close reading will be in the body paragraphs.

Formatting and length

The formatting of your close reading essay will depend on what type of citation style that your assignment requires. If you’re writing a close reading for a composition or literature class , you’ll most likely use MLA or Chicago style.

The length of your essay will vary depending on your assignment guidelines and the length and complexity of the text that you’re analyzing. If your close reading is part of a longer paper, then it may only take up a few paragraphs.

Citations and bibliography

Since you will be quoting directly from the text in your close reading essay, you will need to have in-text, parenthetical citations for each quote. You will also need to include a full bibliographic reference for the text you’re analyzing in a bibliography or works cited page.

To save time, use a credible citation generator like BibGuru to create your in-text and bibliographic citations. You can also use our citation guides on MLA and Chicago to determine what you need to include in your citations.

Frequently Asked Questions about how to do a close reading

A successful close reading pays attention to both the form and content of a literary work. This includes: literal content, tone, characterization, structure, figurative language, diction, sound, style, and context.

A close reading essay is a paper that analyzes a text or a portion of a text. It considers both the form and content of the text. The specific format of your close reading essay will depend on your assignment guidelines.

Skimming and close reading are opposite approaches. Skimming involves scanning a text superficially in order to glean the most important points, while close reading means analyzing the details of a text’s language, style, and overall form.

You might begin a close reading by providing some context about the passage’s significance to the work as a whole. You could also briefly summarize the literal content of the section that you’re examining.

The length of your essay will vary depending on your assignment guidelines and the length and complexity of the text that you’re analyzing.

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Honors291g-cdg’s blog, how to write a close reading essay.

CLOSE READING The purpose of close reading is to suspend personal judgment and examine a text in order to uncover and discover as much information as we can from it. In close reading we ask not just “what does this passage say?” but also “how does it say it?” and even “what does it not say?” Close reading takes us deeper into the passage, below its surface to the deeper structures of its language, syntax and imagery, then out again to its connections with the whole text as well as other texts, events, and ideas. Desired Outcomes: • Identify and reflect on major themes in the book. • Analyze specific details, scenes, actions, and quotations in the text and discuss how they contribute to your interpretation of the meaning of the larger text. • Extract as much information from a chosen passage of writing as possible. • Listen to and understand others’ differing (perhaps) interpretations of the same text. • Generate questions and topics for further inquiry.

Assignment One: A Close Reading Instructions Now that you’ve finished the book, choose a passage from Extremely Loud and Incredibly Close and compose your own close reading of it. Apply the same techniques to this paper that were applied in in-class close readings and discussions, now taking into account the context of your chosen passage, additional selections from the text, as well as the book as a whole. Following MLA documentation style, correctly cite your chosen passage and any other quotations from the text that support your interpretations and claims. For help with MLA style, go to the Commonwealth College website (www.comcol.umass.edu) and search for “MLA format.” Organizing your close-reading essay In writing your close-reading essay, you may wish to start by introducing the book and describing your chosen passage’s importance within it. You could then offer relevant details to support your thesis. Questions you raise may appear as part of your conclusion, suggesting avenues for further thought and study. Paper length Your paper should be 650-750 words long, maximum. Be detailed but concise. Edit out unnecessary words and redundancies. (Include your selected passage in your paper, but do not count it as part of the total length.) A sample close reading essay is available online. Search the Commonwealth College website (www.comcol.umass.edu) for “close reading essay.” Questions to consider as you prepare to compose your close reading Examine the passage by itself • What does this passage explicitly say? • Is there a meaning beneath or beyond the explicit message? What is it? How is it communicated? • What might the passage suggest about the writer’s motivations? • How do the writer’s style, imagery and choice of language create a tone or intensify a meaning? • What specific examples in the passage (and additional passages) support these observations? Examine the passage in light of surrounding passages and the rest of the book • What themes running through the book are evoked explicitly and implicitly in this passage? • How does this passage fit—or not fit—into its immediate context as well as the book as a whole? What insights into the book does it reveal? • What questions does the passage raise about the story being told? • What conclusions can be drawn from this passage about the author and the text? A note about writing You should consider this paper a final version: pay attention to the quality of your writing and proofread your work. Strive to be concise and clear as well as correct. This means writing in a style that’s both academic and accessible. Always keep your audience in mind. You are writing for your interested peers. Grading This essay will be worth 15% of your final grade. Note: You will submit your paper at next week’s class. You will also be asked to summarize your paper and present its main points orally during class discussion. Therefore, you may want to jot down a few “talking points” in preparation.

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• Apr 9, 2023

Close-Reading Strategies: The Ultimate Guide to Close Reading

Close reading helps you not only read a text, but analyze it. The process of close reading teaches you to approach a text actively, considering the text’s purpose, how the author chose to present it, and how these decisions impact the text.

The close reading strategy improves your reading comprehension, your analysis, and your writing. Close reading will help you write essays and perform well on standardized tests like the SAT Reading Section . Any age group can practice close reading, and it works with any text.

This article will outline everything you need to know about close reading, including what it is, why it's important, how to do a close reading, and 5 strategies to improve your close reading abilities.

What is close reading?

Close reading is a reading method that examines not only the text’s content but how the author’s rhetorical, literary, and structural decisions help develop it to achieve a purpose.

No matter the text genre–narrative, informational, argumentative, poetry, or editorial–the author uses language to achieve some purpose: to inform, convince, entertain the audience, or a combination. In every text, the author utilizes a variety of rhetorical and literary strategies, or devices, to achieve these effects on the audience.

Common literary strategies or devices that impact every text:

Diction: Word choice

Syntax: Sentence structure

Tone: Emotion of the words used

Conflict: Problems, issues, or disagreements within or related to the text

Structure: The order of the words, sentences, paragraphs, and ideas

Point of view: The speaker’s perspective on the events or subject matter

Genre: The category or “type” of text–fiction, science-fiction, scientific article, etc.

Imagery: The sensory or visual language the author uses to describe the subject, characters, setting, etc.

Close reading observes how the author uses these strategies to develop the text, create an intended effect upon the reader, and build a central message or main idea.

Why is close reading important?

Close reading is important because it helps you comprehend the text, develop deeper ideas about its meaning, and write and talk about the text with more sophistication. When you consider not just what the text says, but how and why the author constructs it that way, you move beyond surface-level reading into analysis.

Close reading allows you to notice details, language, and connections that you may have previously overlooked. These observations create insights about the text, leading to richer class discussions, better essays, and more joy while reading. Observing an author’s strategies also improves your writing, as you gradually begin to emulate the strategies you notice.

How do you do a close reading?

Do a close reading by selecting a text passage, closely observing the writing style and structure while you read, noticing the author's language choices, underlining and annotating your observations, and asking questions about the text.

General Close-Reading Process:

Select a text passage: Pick a piece of text or passage that you want to analyze. The sweet spot usually lies between roughly one and three paragraphs. Songs and poems also work well for close reading.

Notice the writing style: As you read, ask yourself “What stands out to me about this author’s style? What patterns, words, and choices do I notice?” Pay attention to the emotions you feel as you read, identifying what in the text triggers that response.

Observe the structure: Notice how the author orders words, sentences, lines, and paragraphs. Consider how this order builds an image or idea about the text’s subject. Ask yourself, “How does this structure develop my understanding of the subject?”

Notice language choices: The author selected particular words to build a tone, evoke images in the reader’s mind, create a nuanced argument, or have some other effect on the reader. Note powerful or significant diction–word choice–and consider the purpose it serves, or how it develops any of the devices listed above, such as tone or imagery.

Underline: Have a pencil while you read and–if you’re allowed to mark the paper–underline any observations you make. Underline any of the devices listed above, anything that has an effect on you, or anything you enjoy. There’s no right or wrong way to underline a text, so underline whatever catches your interest.

Annotate: Record your thoughts and observations as you read, by writing in the margins, on a separate sheet of paper, or using an assigned annotation format. Feel free to note questions, individual words, literary devices, or anything you notice.

Ask questions: Along with the annotation ideas listed above, formulate questions and write them down while you read. Generally, the best questions begin with how or why . For example, “Why did the author use this word?” or “How does this detail affect the reader?”

5 Close Reading Strategies to Improve Analysis and Comprehension

Here are my 5 favorite strategies to improve your close reading, analysis, and reading comprehension:

Generate a purpose question (PQ)

Annotate with your PQ in mind

Track the 5 Ws

Notice the conflict

Identify the tone

Generate a Purpose Question

A purpose question (PQ) is a question you pose before reading a text to help you read actively. You can create a PQ for a text of any genre or length–a novel, a short story, a poem, a passage, or an informational text–and there is no right or wrong way to create a PQ.

To create a purpose question, consider any pre-reading context you have:

Text images

School assignment guidelines

Any task you’re expected to complete when you finish reading

Examine the text’s title to guess what the text is about, then formulate an open-ended question that relates to the text, what it might say, and what might be important. As you read, seek and underline information that relates to your PQ and helps you answer it. By the time you finish reading, you should be able to answer your PQ.

Generally, the best open-ended questions begin with how or why .

Your PQ will sometimes simply repurpose the text’s title into a question, like these examples:

Text TitleExample PQ “A Good Man is Hard to Find?” (fiction)Why is a good man hard to find?“The Lady with the Dog” (fiction)What is so important about the lady and her dog?“The Fringe Benefits of Failure” (essay)How can failure be beneficial?“An Epidemic of Fear” (essay)What is causing the epidemic of fear?“New Therapies to Aid Muscle Regeneration” (article)How do these new therapies aid muscle regeneration?

Write down your PQ, either on the text itself or on a separate sheet of paper for note-taking. When you read with a purpose–like answering a question–it becomes easier to identify and annotate what’s important in the text.

Annotate with your PQ in Mind

It’s much easier to take good notes when you have a reading goal–something to answer or accomplish, such as a PQ.

As you read and annotate the text, refer to your purpose question. Search the text for details that relate to and help you answer your PQ. When you find relevant details, underline them and record how the detail relates to your PQ. If you can’t write on the text itself, record your thoughts on a separate paper or word document.

Here’s how and where I annotate a text, and what I usually write in my annotations.

Where and How to Annotate a TextWhat to Write Underline the text Questions –what did you ask or wonder while reading?Write in the margin Thoughts and connections –what did the text make you think about?Use a separate sheet of paper Comments –what made you underline that particular word or detail?On your phone or computer–use a notetaking app or a Google Doc Significance –why is that particular detail important?

As you read the text, constantly ask yourself, How does this information help me answer my PQ? When you’re finished with the text, you should be able to answer your purpose question–and the notes you’ve taken should help you do that.

To monitor your own comprehension while you read, remain aware of the text’s 5 Ws: who, what, where, when, why.

After every sentence or section, reflect to verify the following information:

Who: Who is the text about? Who is narrating, or telling the story?

What: What is the text about?

Where: Where do the text’s events take place?

When: When did the text’s events occur?

Why: Why did this main event occur? Why did the storyteller write this text?

At any given point while you read, you should be able to identify this context. If you realize that you’re disoriented and have lost track of some key Ws, revisit the most recent sentences to see if you missed something critical. Then, continue on with the text, mindfully searching for the information you’re missing.

If you finish reading and still feel uncertain about this core information, revisit the first paragraph. A passage’s first paragraph usually provides fundamental details–such as the characters, setting, main event, and the story’s general context. Revisiting this paragraph sometimes alerts you to basic details you overlooked during your first readthrough.

The 5 Ws also work as an annotation strategy, where you underline all textual information related to the 5 Ws.

Notice the Conflict

Every story or passage centers around at least one conflict. A conflict is the characters’ primary struggle–the issue they’re faced with, the main challenge they try to overcome.

Keep in mind that a conflict can be external or internal. An external conflict takes place outside the character in the physical world–such as a fistfight, an argument with a friend, or committing a bank robbery. An internal conflict takes place inside the narrator–such as struggling to get over a girlfriend, becoming jealous of a friend, or worrying about how peers will perceive a behavior.

As you read, ask yourself “What is the character’s primary issue or challenge?” While there may be more than one, try to identify the most central, prominent conflict. By identifying a story’s conflict, you can observe and annotate how the author emphasizes it through storytelling elements–character development, tone, word choice, and structure. Underline these elements and write a few words describing how they build or relate to the central conflict.

Identify the Tone

A text’s tone is the speaker’s attitude toward the subject matter–actions, characters, or events in the text. Every piece of writing has multiple tones, which develop and change throughout the text according to the writer’s word choice.

Describe the tone using adjectives :

To Kill a Mockingbird began with a lighthearted tone and progressed to a dark , tense tone as the plot continued.

The article about bees used an informative , professional tone.

My writing always has an informal tone, even when I want it to be academic .

Hermann Hesse ends Siddhartha with a serene and beautiful tone.

Each sentence carries a unique tone, causing a story’s tone to change subtly every few lines. As you read, notice how the tone develops as the story continues. Underline the words and phrases that most powerfully create the tone, describing the tone in the margin. If you notice a sudden shift in tone, underline the point where it changed and write a few words about how it changed.

Close Reading Strategies Make You a Better Reader

Close reading is more than just a classroom assignment–it’s a reading method that helps you analyze and comprehend all texts. It will help you in class, on your own, and on standardized tests such as the SAT and ACT Reading Sections .

While you may initially practice close reading by underlining and writing notes in the margin, over time it will influence the way you approach all texts: You will find yourself prereading a text, considering the title, generating a purpose question, tracking the 5 Ws while you read, asking questions, observing the text’s conflict, and noticing the tone.

Close reading helps you comprehend difficult texts, and it helps you write essays for class. It’s an all-purpose writing strategy.

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Close reading is a way of carefully analyzing a short passage or poem in order to explain how language and organization is used and/or how an author builds an argument, elicits a response from the reader, and/or creates a particular mood. Attention to specific details allows you to assess and discuss the larger themes or concerns of the text as a whole.

An effective close reading discusses HOW the selected passage communicates meaning (what poetic or rhetorical strategies are used) as well as addresses WHY these strategies are used in this particular way. For example, what is the author trying to communicate to the reader? What decisions has the author made about word choice, tone, etc.?

There are two common kinds of close readings— English literature and Philosophy. However, close reading is a useful technique in any kind of analytical writing and these strategies can be applied to other disciplines.

Close reading can also be a good place to begin if you are having difficulty formulating an argument for a longer paper. Even if the assignment does not explicitly ask you to conduct a close reading, the strategies described above can be useful tools for more involved textual analysis. Keep in mind that longer papers may require close readings of more than one passage of a text; the connections between these close readings often form the basis of a more complicated argument.

The parts of the close reading will depend on the type of assignment. You might be asked to do something like the following:

• Write a formal essay with an introduction, body, and conclusion that closely examines elements from a text or passage and explains their importance or effect.
• Write a paragraph or series of paragraphs examining a passage or excerpt, explaining how it produces effects on the reader and how it contributes to the meaning of the larger text as a whole.
• Write an explication that traces a poem’s development from beginning to end, explaining how it creates certain effects on the reader or develops arguments and themes.

Words associated with a close reading include explication, exegesis, and analysis.

In most close reading assignments, you will want to include these elements:

An introduction or introductory sentence

• Identify the passage and its context (if it is an excerpt, tell us where it fits in the overall text).
• Tell us why it’s important to analyze this particular passage or text (why should we care?).
• For example, “George Eliot’s use of diction and narrative perspective in this passage of Middlemarch complicates the conventional understanding of gender and gender relations by refusing to adhere to a strict separation of gendered traits.”

A clearly stated argument

State your argument about the passage clearly and concisely. Although the length and style of a close reading that focuses on an excerpt may differ from an essay that focuses on a literary work in its entirety, your assignment should still have a clear argumentative thesis.

Your explanation of how you see the text creating effects or making arguments

When you are choosing your evidence, consider the tone of the passage and the specific words used to describe a character or event. Some authors create characters whose views significantly differ from their own. Some literary works feature narrators who are unreliable. When analyzing a passage, consider not only WHAT is said, but HOW it is said:

• No: “The author uses a variety of diction about men’s and women’s positions in society.” 
• Yes: “The author’s use of diction allows her to highlight how gender is associated with specific social and economic positions.”

Specific examples highlighted from the text

Focus in on words, phrases, and short passages that illustrate how you see the text creating its effects and meaning. For example, “Eliot uses the words ‘nature’ and ‘greatness’ in relation to men, suggesting that they are inherently more intelligent, powerful, and capable than women--or are at least considered to be so in the social context of the story."

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The Writing Place

Resources – 3 steps to successful close reading, what is close reading.

Okay, for starters – what is a close reading?

A close reading is an intricate analysis of a small portion of text, combined with an argument or interpretation that connects this section to the larger text as a whole. A close reading might be used in a literary analysis paper, but these kinds of exercises differ from close readings in their scope; a successful close reading takes one portion of the text and analyzes it as deeply as possible, then uses that analysis to make an argument about the text as a whole. A literary analysis paper, rather, makes a general argument about the text and uses instances of close reading to support it. These exercises are similar, and we can think about a close reading as a kind of building block that literary essays use to support their arguments.

So now you’re doing a close reading, but you have no clue where to start. How do I choose my passage? How long should it be? What do I look for once I’ve chosen it? Do I focus on the passage narrowly, or draw connections to the text as a whole? How do I know whether or not my argument is a strong one? Questions like these assail you and instill a sense of hopelessness and doubt before you’ve even picked up a pencil. But not to worry! With these three easy steps, you’ll be able to close-read like a pro.

3 Steps for a Successful Close Reading

1. choose a passage.

Now in some cases, your professor, TA, adviser, or whomever may assign you a passage and ask you to close read that particular passage and locate it within the greater framework of a text. At other times, though, you’ll have to choose your own passage, and in these instances it’s important to know what to consider when making that selection. a. Does it puzzle you? A good passage for a close reading is one that you did not, cannot, read and understand fully at a first glance. This passage might state a simple truth on the surface, but have deeper meaning waiting to be uncovered. It might be structurally confusing – perhaps the passive voice obscures agency to such an extent that it’s unclear as to what’s being done by whom. Maybe a narrator refers to a concept or an object that is not at once entirely clear. Perhaps a major theme is reiterated, but then dismissed too briefly for lucid understanding. If any or all of these things is true, then you’ve got yourself a good passage! b. Is it complex? Related to a), your passage must also be sufficiently complex. It should not only speak to various themes throughout the text and/or specific characters and their motivations, but it should also afford multiple interpretations of these things. If you’re reading a passage that affords only one obvious interpretation – say, gender subversion in  Pride and Prejudice  – you might want to pick something a little more challenging. Alternatively, you might choose two passages that seem simple, but analyze them in relation to one another in such a way as to complicate this original interpretation. The best passages are ones that, when read by multiple readers, evince over and over again myriad, even conflicting, analyses. Go for contentious, not simplistic. c. Is it long enough? Now this point is the most subjective of the three, but you may safely assume that an adequate passage for close reading is at least a paragraph or two long. While one can and does perform a close reading on individual sentences all of the time, it is difficult to form a compelling argument about a passage that relates to the text as a whole when there are only 15 or so words to choose from. A good rule of thumb is to stick between one and two full paragraphs, though if you find a particularly short paragraph exceptionally dense and meaningful, or if you find a series of paragraphs to relate so nicely to each other that to separate them would be to dissolve their potential, then you might be able to stray inside or outside of this rule.

2. Ready Your Arsenal of Strategies!

Okay, so you’ve got your passage: now what? I still don’t know how to analyze this stuff!

Don’t worry – it’s not as bad as you think. Chances are, you’ve been doing this kind of thing subconsciously throughout the entirety of the text. Here are a few tools made explicit that you likely use without even knowing it.

a. Diction We hear it all the time: “diction.” Just a fancy word for which words are used to convey a thought, and why those words as opposed to other potential ones. If the narrator is describing a character’s person and references a “beast-like glare,” then we know that the narrator views this person, at least somewhat, as a wild animal, a beast. The narrator could have said instead a “mad glare” or a “wild glare,” but both of these latter word choices still convey a kind of humanity in the character. The narrator used the former to deprive him/her of such humanity, and it is safe to assume that each word an author uses is chosen for a particular purpose which is your job to find.

b. Imagery What do things look like? How are they described? Are some parts of the passage elucidated further than others? In what ways are landscapes painted, portraits drawn? Why is one character linked to fire and another to ice and what does that mean? These questions and those like them are ones you should seek to tackle whenever you see images deployed to describe, define or portray a character, a scene or a place.

c. Syntax How do the words link together at the level of the sentence? Does the passage read awkwardly? Do you stumble over long words followed by longer ones? Why might this be? Does the placement of one word often follow another word specifically? What kind of connection does that juxtaposition make between these two things?

d. Figures Old and faithful, it’s always a good idea to look for figurative language in a close reading. Metaphors, similes, symbols, allusions, etc. all serve important roles in a text and are evoked (by good writers) at significant and purposeful moments. Does one metaphor keep popping up throughout a text, and you see it in this passage as well? Is one character consistently characterized using a specific symbol? Think about these questions and others when considering their purpose after first identifying these figures.

e. Tone What is the feeling of this passage? Is the narrator angry? Ranting? Cold and calculated? Does the passage read like the rest of the text, or does it stand out in its expression some way? Is this narrator typically recognized by this tone, or has something changed? If it’s the same, what patterns can we draw between this tone and that of the larger text? If it’s different, what does the shift tell us about this passage or its speaker?

f. Narrator Always, always think about who is doing the talking! Depending on the reliability of the narrator, we might be disposed to consider everything in a passage entirely in another light. Is the character a jokester? Is he serious? Have we seen him before and can we trust him? Was the character actually there to witness this scene, or is s/he merely speculating as to the events that transpired?

g. Structure The macro-level question: what’s going on here with the passage’s structure? Is information conveyed through a series of negations? I.e. “the woman was neither tall nor short, neither slim nor plump,” or is it very explicitly conveyed? Does the passage look like other passages on other pages in the text, or does it stand out for its shorter or longer sentences, its abrupt pauses or lengthy asides? If the passage is seemingly incoherent and rambling, might that reflect the inner turmoil of the speaker? If the passage is cursorily clear – too clear – could we view this as a subtle indication that the speaker has something deeper going on in his mind that he’s not sharing with us? Feel free to think about sentence length, comma placement, overall cohesion, conformance to (or departure from) the text’s pre-established writing norms, and anything else that seems relevant to the actual construction of the passage.

h. Ambiguity/Ambivalence Is something in the passage made deliberately unclear? Are there two equally compelling, yet at once conflicting ways to view a word, a phrase, a sentence? Literary ambiguity and ambivalence are powerful tools in writing because they condition the reader to either ask more questions or think hard about the correct meaning of a multi-faceted statement. Watch for each of these as they pop up very often and lead sometimes to interesting conclusions.

i. Polysemy Another fancy word for the various meanings a word can have in a text. In Wordsworth’s “We Are Seven,” the speaker asks of a small child “What should it know of death?” Read hastily, one might overlook this rich question, but when doing a close reading it’s apparent that more than one “should” could be in play here. “Should” might read as a self-evident dismissal – “what should it know of death” could be a way to assert that the child, in fact, knows nothing whatsoever of death by the mere fact that she is a child. On the other hand, “should” might read as a kind of moral question. “What should it know of death” could be a positing of how much information is too much information for children on weighty topics like death. Each of these readings leads to interesting questions and sparks further thought, and there is no one reading that is clearly more valid than the other. Thus, it’s important to consider all of the ways in which a word, phrase or statement can be read, so that the various possibilities thereby created are each considered in turn.

3. Make an Argument

Now that you’ve got your passage annotated and a whole paper filled with non-related analyses of various parts of the passage, it’s time to bring them together to construct your argument. While noting each observation is a pleasurable experience in itself, nothing can compare to the thrilling nature of seeing how each of these puzzle pieces fits. If you’ve got a list of ten points you drew from your passage, group them according to similarities and differences. Are several of your points about gender? Do you have one lingering point about class distinctions, but it seems to depart from the major theme of your observations? This is the moment where you take those similar analyses and think about what they mean. Don’t just tell me that the narrator avoids dialogue with the main character – tell me why this is so and what it says about the text as a whole. It’s the so what factor: so you’ve noticed that the Creature in  Frankenstein  never calls himself a “monster” until humans do so first – so what? Why should I care, and how does that observation mean anything more than a casual remark as to the weather forecast for the day?

But you must do more than make an isolated argument about your passage. The best arguments will tie observations made in the passages to the larger text as a whole. Are recurring themes touched on in this passage? Are they explored in a way consistent with the rest of the novel, or do they diverge from this? What does this redundancy or severance say about this passage and its relation to the larger text? How does the narrator’s cold, almost lifeless, narration illuminate his character elsewhere in the novel? Once you can draw connections between your analyses of the passage and overall trends in the larger text, you will have a compelling argument worthy of consideration and contention. Remember: a good argument notices things that other people don’t, but a better one explains why those things are worth noticing in the first place.

And just like that, you’re done!

It’s as easy as 1, 2, 3. There are, of course, many other tools to do a close reading, just like there are many other approaches to constructing an argument from your preliminary observations. You can close read using a psychoanalytic perspective, or you can approach a text with the mindset of a Marxist, and each of these choices will influence the way you analyze and argue about your passage. This is, on the whole, though, a very solid foundation, and once you have mastered these essentials you will find it both easy and intriguing to branch off into more obscure, less explored directions with your close reading.

So good luck! Enjoy your text, make your argument, and always remember to read closely. And, if you still aren’t 100% sure how to implement these steps, check out the practice passages below.

Practice Passage with Questions and Answers #1

From Dickens’  A Tale of Two Cities :

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair…

1) What does the juxtaposition of “best” and “worst,” “wisdom” and “foolishness, “Light” and “Darkness” do for the opening of this novel? Does the paradox presented here suggest something that perhaps is not made explicit in the passage?

Sample answer: The juxtaposition of “best” and “worst,” “wisdom” and “foolishness” etc. emphasizes two extremes from two starkly contrasting points of view. How can one think this is the “best” time and another think it the “worst” simultaneously? Perhaps it is because these two perspectives represent different positions in life; perhaps where one sees “Light,” the other can find “Darkness” if he looks hard enough.

2) Imagery: Think about “Light,” “Darkness,” “spring” and “winter.” What kinds of images does each of these terms produce in your mind? Why might Dickens be invoking these particular images as opposed to any others?

Sample answer: Perhaps “Light” represents hope, while “Dark” the hopeless. “Spring” is a symbol for rebirth and life, while “winter” represents all that is dead and dying. Placing these images side by side each other is a powerful move because with it, the passage encompasses all that makes up life: the good, the bad, and the constant oscillation between these two.

3) Think about the form of this passage. What does the sentence length do formally to influence your understanding of the ideas? Do the frequent commas, the short statements linked seamlessly together, create a feeling of their own? In other words: is this just bad writing, or is the drawn-out prose actually accomplishing something?

Sample answer: The lengthy prose style in this passage seems to connect formally what are very different ideas at the level of content. “Light” and “Darkness,” in conception, are as far from one another as any dichotomy you can draw, yet they’re all part of the same sentence – just like the other dichotomies presented in the passage. This forces the reader to consider these two things in tandem, rather than in isolation, which might be crucial to the ends of this passage.

Practice Passage with Questions and Answers #2

From F. Scott Fitzgerald’s  The Great Gatsby :

[Gatsby] smiled understandingly – much more than understandingly. It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced—or seemed to face—the whole external world for an instant, and then concentrated on you with an irresistible prejudice in your favor. It understood you just as far as you wanted to be understood, believed in you as you would like to believe in yourself.  

1) What is the tone of this passage? How would you describe the narrator’s feelings toward Gatsby?

Sample answer: It seems the tone of this passage is one of awe and admiration. The narrator feels like Gatsby understands him deeply (“as far as you wanted to be understood”), understands the “whole external world” in all its complexity – he thinks this all because of Gatsby’s smile. Smiles themselves have limited meaning in our lives; rather it is what we project onto a smile that endows it with meaning. In most cases, a smile represents happiness and laughter; in others it is indicative of scorn and malice. Here, the narrator is attributing anything and everything to Gatsby’s smile, which makes me feel like the former has lofty esteem for – even reverence of – the latter.

2) What is the effect of placing “or seemed to face” immediately after “It faced,” and in hyphenated form? Does this syntactical arrangement affirm, refute or complicate your understanding of the passage? Your trust for the narrator?

Sample answer: The juxtaposition of “It faced” with “—or seemed to face—“ greatly problematizes my understanding of this passage for two reasons. First, the narrator seems to be second-guessing himself. He is unwilling to commit to an objective statement judging Gatsby’s smile. If he is unwilling or unable to say what the smile actually meant, how can we, as readers, trust his interpretations at all? Moreover, the formal structure also affirms this second-guessing, as the thought is broken up immediately with hyphens and an alternative. In the structure of the passage, then, the thought is not even given enough space to develop before it is derailed. This, too, makes it difficult for me to trust the narrator and what he has to say.

3) Why does the narrator utilize the second-person “you” here? What does he accomplish in so doing?

Sample answer: Adopting the second-person “you” form here brings the reader into the narrator’s position; it also subjects the reader to Gatsby’s gaze. “You” implies an intimacy between the addresser and the addressee – it’s assumed informality parallels that which the narrator is projecting onto Gatsby’s smile. I think the narrator uses the “you” here, perhaps subconsciously, to rally the reader’s support for this Gatsby.

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• Literary Analysis Essay - Close Reading
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• Essay Organization

The purpose of a literary analysis essay is to carefully examine and sometimes evaluate a work of literature or an aspect of a work of literature. Examining the different elements of a piece of literature including plot, character, setting, point of view, irony, symbolism, and style to see how the author develops a theme is not an end in itself but rather a process to help you better appreciate and understand the work of literature as a whole. The focus of a literary analysis essay is as expansive as the writers’ interests. For example, a short story analysis might include identifying a particular theme and then showing how the writer suggests that theme through the point of view of the story. It is important to remember that literary analysis does not merely demonstrate a particular literary element. The focus is explaining how that element is meaningful or significant to the work as a whole. See Essay Organization in Related Pages on the right side bar for more information.

Close Reading

Close reading is a deep analysis of how a literary text functions; it is both a reading process and something you include in a literary analysis paper. When you read a text paying specific attention to certain literary elements, looking for particular patterns, or following the development of a particular character, you are practicing close reading. Likewise, when you watch a film with a particular emphasis on a certain element, you are doing a close reading. Of course, when one writes an essay that teases out a certain element, this is the beginning of a close reading. Like literary analysis more generally, close reading is not a means in and of itself. Close reading helps inform the larger meaning or import of a work.

Literary analysis involves examining the components of a literary text, which allows us to focus on small parts of the text, and clues to help us understand the work as a whole. The process of close reading should produce questions. When you begin to answer these questions, you are ready to participate thoughtfully in class discussions or write a literary analysis paper. Close reading is a process of finding as much information as you can in order form to as many questions as you can.

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The Power of Analysis: Tips and Tricks for Writing Analysis Essays: Home

Crystal sosa.

Helpful Links

• Super Search Webpage Where to start your research.
• Scribbr Textual analysis guide.
• Analyzing Texts Prezi Presentation A prezi presentation on analyzing texts.
• Writing Essays Guide A guide to writing essays/
• Why is it important?
• Explanation & Example
• Different Types of Analysis Essays

Text analysis and writing analysis texts are important skills to develop as they allow individuals to critically engage with written material, understand underlying themes and arguments, and communicate their own ideas in a clear and effective manner. These skills are essential in academic and professional settings, as well as in everyday life, as they enable individuals to evaluate information and make informed decisions.

What is Text Analysis?

Text analysis is the process of examining and interpreting a written or spoken text to understand its meaning, structure, and context. It involves breaking down the text into its constituent parts, such as words, phrases, and sentences, and analyzing how they work together to convey a particular message or idea.

Text analysis can be used to explore a wide range of textual material, including literature, poetry, speeches, and news articles, and it is often employed in academic research, literary criticism, and media analysis. By analyzing texts, we can gain deeper insights into their meanings, uncover hidden messages and themes, and better understand the social and cultural contexts in which they were produced.

What is an Analysis Essay?

An analysis essay is a type of essay that requires the writer to analyze and interpret a particular text or topic. The goal of an analysis essay is to break down the text or topic into smaller parts and examine each part carefully. This allows the writer to make connections between different parts of the text or topic and develop a more comprehensive understanding of it.

In “The Yellow Wallpaper,” Charlotte Perkins Gilman uses the first-person point of view and vivid descriptions of the protagonist’s surroundings to convey the protagonist’s psychological deterioration. By limiting the reader’s understanding of the story’s events to the protagonist’s perspective, Gilman creates a sense of claustrophobia and paranoia, mirroring the protagonist’s own feelings. Additionally, the use of sensory language, such as the “smooch of rain,” and descriptions of the “yellow wallpaper” and its “sprawling flamboyant patterns,” further emphasize the protagonist’s sensory and emotional experience. Through these techniques, Gilman effectively communicates the protagonist’s descent into madness and the effects of societal oppression on women’s mental health.

There are several different types of analysis essays, including:

Literary Analysis Essays: These essays examine a work of literature and analyze various literary devices such as character development, plot, theme, and symbolism.

Rhetorical Analysis Essays: These essays examine how authors use language and rhetoric to persuade their audience, focusing on the author's tone, word choice, and use of rhetorical devices.

Film Analysis Essays: These essays analyze a film's themes, characters, and visual elements, such as cinematography and sound.

Visual Analysis Essays: These essays analyze visual art, such as paintings or sculptures, and explore how the artwork's elements work together to create meaning.

Historical Analysis Essays: These essays analyze historical events or documents and examine their causes, effects, and implications.

Comparative Analysis Essays: These essays compare and contrast two or more works, focusing on similarities and differences between them.

Process Analysis Essays: These essays explain how to do something or how something works, providing a step-by-step analysis of a process.

Analyzing Texts

• General Tips
• How to Analyze
• What to Analyze

When writing an essay, it's essential to analyze your topic thoroughly. Here are some suggestions for analyzing your topic:

Read carefully: Start by reading your text or prompt carefully. Make sure you understand the key points and what the text or prompt is asking you to do.

Analyze the text or topic thoroughly: Analyze the text or topic thoroughly by breaking it down into smaller parts and examining each part carefully. This will help you make connections between different parts of the text or topic and develop a more comprehensive understanding of it.

Identify key concepts: Identify the key concepts, themes, and ideas in the text or prompt. This will help you focus your analysis.

Take notes: Take notes on important details and concepts as you read. This will help you remember what you've read and organize your thoughts.

Consider different perspectives: Consider different perspectives and interpretations of the text or prompt. This can help you create a more well-rounded analysis.

Use evidence: Use evidence from the text or outside sources to support your analysis. This can help you make your argument stronger and more convincing.

Formulate your thesis statement: Based on your analysis of the essay, formulate your thesis statement. This should be a clear and concise statement that summarizes your main argument.

Use clear and concise language: Use clear and concise language to communicate your ideas effectively. Avoid using overly complicated language that may confuse your reader.

Revise and edit: Revise and edit your essay carefully to ensure that it is clear, concise, and free of errors.

• Understanding the assignment: Make sure you fully understand the assignment and the purpose of the analysis. This will help you focus your analysis and ensure that you are meeting the requirements of the assignment.

Read the essay multiple times: Reading the essay multiple times will help you to identify the author's main argument, key points, and supporting evidence.

Take notes: As you read the essay, take notes on key points, quotes, and examples. This will help you to organize your thoughts and identify patterns in the author's argument.

Take breaks: It's important to take breaks while reading academic essays to avoid burnout. Take a break every 20-30 minutes and do something completely different, like going for a walk or listening to music. This can help you to stay refreshed and engaged.

Highlight or underline key points: As you read, highlight or underline key points, arguments, and evidence that stand out to you. This will help you to remember and analyze important information later.

Ask questions: Ask yourself questions as you read to help you engage critically with the text. What is the author's argument? What evidence do they use to support their claims? What are the strengths and weaknesses of their argument?

Engage in active reading: Instead of passively reading, engage in active reading by asking questions, making connections to other readings or personal experiences, and reflecting on what you've read.

Find a discussion partner: Find someone to discuss the essay with, whether it's a classmate, a friend, or a teacher. Discussing the essay can help you to process and analyze the information more deeply, and can also help you to stay engaged.

• Identify the author's purpose and audience: Consider why the author wrote the essay and who their intended audience is. This will help you to better understand the author's perspective and the purpose of their argument.

Analyze the structure of the essay: Consider how the essay is structured and how this supports the author's argument. Look for patterns in the organization of ideas and the use of transitions.

Evaluate the author's use of evidence: Evaluate the author's use of evidence and how it supports their argument. Consider whether the evidence is credible, relevant, and sufficient to support the author's claims.

Consider the author's tone and style: Consider the author's tone and style and how it contributes to their argument. Look for patterns in the use of language, imagery, and rhetorical devices.

Consider the context : Consider the context in which the essay was written, such as the author's background, the time period, and any societal or cultural factors that may have influenced their perspective.

Evaluate the evidence: Evaluate the evidence presented in the essay and consider whether it is sufficient to support the author's argument. Look for any biases or assumptions that may be present in the evidence.

Consider alternative viewpoints: Consider alternative viewpoints and arguments that may challenge the author's perspective. This can help you to engage critically with the text and develop a more well-rounded understanding of the topic.

• Last Updated: Jun 21, 2023 1:01 PM
• URL: https://odessa.libguides.com/analysis

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VCE Literature Close Analysis: Introduction

August 31, 2015

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Updated 23/09/2020.

‍ One of the most prominent questions I receive from students  is this: “do I need to write an introduction?”. This is usually followed with “how do I write an introduction?”.

Firstly, yes,  I believe all students should be writing introductions  as they are an excellent way to showcase your ability to provide an insight into your personal “reading” of the text, interpret the passages and allow you an avenue through which to begin your discussion of the material. In this guide, I will be explaining two of the key elements to be utilised to create a strong introduction.

When constructing introductions, it is important to note that the VCAA Literature Exam Criteria is as follows:

• understanding of the text demonstrated in a relevant and plausible interpretation
• ability to write expressively and coherently to present an interpretation
• understanding of how views and values may be suggested in the text
• analysis of how key passages and/or moments in the text contribute to an interpretation
• analysis of the features of a text and how they contribute to an interpretation
• analysis and close reading of textual details to support a coherent and detailed interpretation of the text

What you need to include in your Close Analysis introduction

Considering these points, your introduction should feature these 2 elements:  your personal reading  of the text and  your interpretation  of the passages.

Your personal reading  is simply your perception of the text. Though the key facets of the text such as the plot and the characters are generally viewed by the majority in a similar fashion, each student will have their own opinions of the text. This can range from resonating with particular scenes or placing a greater emphasis on a certain concept or relationship.

Your interpretation of the passages  is the way in which you view the excerpts given to you. Akin to your personal reading, the core aspects of the passages will likely be viewed similarly by most students, however your point of difference will come from how you perceive  the passages suggest views and values  and  how features and moments contribute to an interpretation  (factors coming from the criteria).

In terms of structure, try to begin with a sentence or two explaining  your personal reading of the text.  The key to doing so in a manner befitting Close Analysis however, is to utilise  quotes from the passages  to supplement your assertion.

Here is a sample written about George Bernard Shaw’s “Pygmalion”:

George Bernard Shaw’s “Pygmalion” contrasts the absence of morality in the titled upper class of 19th century England who dehumanise common citizens as “pebbles on the beach” and the under privileged but morally conscious lower class, “intimidated” by the socio-economic chasm, but living with “middle class morality”.

This  highlights my personal reading  of Pygmalion as a whole, supported by quotes from the passages I was provided.

To build on this, proceed by writing a sentence or two that demonstrates  your interpretation of the passages  and how they discuss views and values and create meaning.

Though Shaw implies that one can ascend the ranks through Doolittle’s “lecturing them blue in the face” and Eliza’s gradual self-actualisation, ultimately Shaw quashes any prospect of one permanently invading the upper class by deploying the repetitive “I will” catchphrase throughout Eliza’s ventures. The indefatigable delivery ironically conveys the notion that in spite of Eliza’s effort, she “won’t” achieve.

In these sentences I have commented briefly on the events within the passages and utilised them to exemplify how they are utilised to delve into views and values and create meaning in the overall context of the text. These factors encompass  my interpretation of the passages .

Introductions which contain these two key features will score well as they  directly target numerous parts of the assessment criteria . This allows students to explicitly outline their overall reading of the text in a style which will efficiently show off your writing skills. Here's the introduction altogether:

Sample A+ Introduction

George Bernard Shaw’s “Pygmalion” contrasts the absence of morality in the titled upper class of 19th century England who dehumanise common citizens as “pebbles on the beach” and the under privileged but morally conscious lower class, “intimidated” by the socio-economic chasm, but living with “middle class morality”. Though Shaw implies that one can ascend the ranks through Doolittle’s “lecturing them blue in the face” and Eliza’s gradual self-actualisation, ultimately Shaw quashes any prospect of one permanently invading the upper class by deploying the repetitive “I will” catchphrase throughout Eliza’s ventures. The indefatigable delivery ironically conveys the notion that in spite of Eliza’s effort, she “won’t” achieve.

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If you’ve been studying John Donne’s metaphysical poetry, you’ve probably noticed that his works are riddled with different symbols and motifs. Embedded throughout his poetry, these literary devices may seem slightly abstruse to the reader. You may find yourself asking: What do they mean? And in relation to what? Even Donne’s contemporaries failed to appreciate his poetry. The neoclassical poet John Dryden rejected Donne’s works because it “affects the metaphysics” and “perplexes the minds of the fair sex with nice speculations of philosophy, when he should engage their hearts, and entertain them with the softnesses of love”.

One thing that you should understand about Donne’s romantic poetry, is that while his stark images of compasses and spheres may seem foreign to you, they were also alien to his predecessors too. So, if you’re struggling to comprehend his enigmatic poetry, not to fear! Because John Donne’s poetic peers didn’t initially get it either.

The reason for this is because Donne refused to conform to the poetic conventions of the time. The poet emerged as an idiosyncratic in the Elizabethan era, the Renaissance. Unlike his contemporaries, he didn’t employ elaborate descriptions of symbol natural landscapes, classical myths and female beauty. The reason for this was because Donne did not believe in the one-sided love and emotional frustrations that his contemporaries tried so hard to convey in such imagery.

Donne’s poetry was so different because he rejected and even openly mocked the idea of such a high-minded religious worship in literary romance. In “A Valediction Forbidding Mourning,” Donne criticises the “tear-floods” and “sigh-tempests” of the “dull sublunary lovers.”. In a similar vein, Donne satirises the “sighs” and “tears” (The Canonisation) so prevalent in Petrarchan works.

Instead, Donne advocated for a different kind of love. He espoused a love that comprised of the Body and the Soul, which was a dominant intellectual issue in the literary treatment of love in the 1590s. More specifically, Donne embraced the balance between Platonic love and the Ovidian love.

Platonic: Platonic love is essentially love that surpasses the mere sensual and physical. It is a very spiritual concept and is based on reason, affection, respect, intellect and compatibility.

Ovidian: Ovidian love

The idea of balance derived from discoveries being made about the human body during the Elizabethan era. The Renaissance was fundamentally a time of discovery (particularly in the area of science). Elizabethans believed that elements in the body needed to be balanced,

Top Tip: When you’re analysing John Donne’s poetry and writing essays, be aware of Donne’s overarching message in his romantic poetry. Most explanations about his use transcendent relationship with his lover is thus determined by obtaining a balance between the spiritual and earthly pleasures. Most examination questions will leave room for to discuss the connection between the material and the divine world! Make sure to understand this, because this is a huge component to his poetry.

The big trap students doing both English and Literature fall into is the habit of writing Close Readings like a Language Analysis essay. In essence, the two of these essays must tick the same boxes. But, here’s why analysing texts in Literature is a whole different ball game – in English, you want to be focusing on the methods that the author utilises to get their message across, whereas Literature is all about finding your own message in the writing.

In a  Language Analysis  essay, the chances are that most students will interpret the contention of the writer in a similar fashion and that will usually be stated in the introduction of the essay. Whereas in Literature, it is the formulation of your interpretation of the author’s message that is what really counts. In a typical Language Analysis essay, the introduction is almost like a summary of what’s going to be talked about in the next few paragraphs whereas in a close reading, it is the fresh ideas beyond the introduction that the markers are interested in.

For this reason, every Close Reading that you do in Literature will be unique. The overarching themes of the text you are writing from may be recurring, but for every passage from the text that you are given, what you derive from that will be specific to it.

From my experience, this is what stumps a lot of students because of the tendency is to pick up on the first few poetic techniques used in the passages and create the basis for the essay from that. This usually means that the student will pick up on alliteration (or another technique that they find easy to identify) used by the author and then try and match it to an idea that they have discussed in class. Whilst this can be an effective way to structure paragraphs, many students aren’t consciously utilising this approach and instead are doing it ‘by accident’ under time pressure, or a lack of understanding of other ways to get a point across.

In general, there are two main approaches that can be followed for body paragraphs in a literature close reading analysis:

1. Start wide and narrow down.

What does this mean? So, as I mentioned before, each of your close readings should be very specific to the passages in front of you and not rehearsed. However, it’s inevitable that you are going to find some ideas coming back more often. So, after reading through the passage, you will usually get a general understanding of the tone that the author has utilised. This will indicate whether the author is criticising or commending a certain character or social idea. Using this general overview to start your paragraph, you can then move closer and closer into the passage until you have developed your general statement into a very unique and clear opinion of the author’s message (with the support of textual evidence of course).

This is the essay approach that is generally preferred by students but is often used poorly, as without practice and under the pressure of writing essays in exam conditions, many students revert back to the old technique of finding a literary device that they are comfortable with and pushing forth with that.

The good thing about this approach is that when you understand the general themes that the author covers, you will become better and better at using that lens to identify the most impactful parts of the passage to unpack as you scrutinise the subtle nuances of the writer’s tone.

2. Start narrow and go wide.

You guessed it - it’s basically the opposite of the approach above. However, this is a more refined way of setting out your exploration of the author’s message as opposed to what was discussed earlier (finding random literary devices and trying to go from there). Using this approach does not mean that you have no direction of where your paragraph might end, it just means that you think the subtle ideas of the author can be used in culmination to prove their wider opinion. For example, if you get a passage where the author describes a character in great detail (Charlotte Brontë students, you might be familiar!) and you think there is a lot of underlying hints that the author is getting at through such an intricate use of words, then you might want to begin your paragraphs with these examples and then move wider to state how this affects the total persona built around this character and then maybe even a step further to describe how the writer’s attitude towards this character is actually a representation of how they feel towards the social ideas that the character represents.

The benefit of this approach is that if you are a student that finds that when you try and specify on a couple of key points within a large theme, you end up getting muddled up with the potential number of avenues you could be writing about, this style gives a bit of direction to your writing. This approach is also helpful when you are trying to link your broader themes together.

The main thing to remember in the structure of your body paragraphs – the link between your examples and the broader themes that you bring up should be very much evident to the marker. They should not have to work to find the link between the examples you are bringing up and the points that you are making. Remember, a Close Reading is all about the passage that is right in front of you and its relation in the context of the whole text and the writer’s message. Be clear about your opinion, it matters!

Happy writing!

The idea of critical lenses in literary perspective essays can often be tough to fully grasp. Is sticking to just one ok? Are there enough examples in the text to support a purely feminist viewpoint? Or a Marxist one? What about post-colonialism? Sometimes it’s difficult to find a clear through line, especially when the concepts you’re attempting to discuss are so complex.

Luckily when it comes to Shakespearean texts, Twelfth Night in particular, a lot of people throughout history have already studied these ideas and critical lenses, and there are many more resources out there for you to utilize than you might think.

Thus, we are faced with the extremely helpful nature of published critical readings. These critical essays are pieces often published by university professors or scholars which offer an in-depth analysis and examination of a given text. While much of the language is complicated and a bit overwrought at times, the content within the essays can give you helpful ideas and can help you gather a repertoire of vocabulary and evidence for your own literary perspectives essay. In fact, if you type in “Twelfth Night critical readings” into your google search tab, there will be pages of valuable content at your disposal.

Literary perspectives

For instance, the critical essay Rethinking Sexuality and Class in Twelfth Night by Nancy Lindhiem, gives insight into both the Marxist and the queer lens.

Here is an extract from Lindhiem’s reading in which she discusses the idea of “androgyny” and sexuality (noted specifically in the bolded words):

“While Viola is barely male except in attire, the dual aspect of Sebastian’s androgyny is carefully explored. The Elizabethan audience’s first, external, impression – he looks like his sister! – is reinforced ‘internally’ in his conversation with Antonio. His exquisite sensitivity to the quality of his friend’s feelings and the obligation it lays upon him might well be seen as a woman’s trait. ”

After reading Lindhiem’s discussion of the “androgynous” twins within the play and how this displays a disparity between gender identity, this student then decided to expand on in a similar idea in a part of their paragraph below (queer lens). In the first part of the sentence, the student outlines the idea of androgyny (shown in bold) specific to the character of Viola. Later on, the student also explores the idea of different behaviours contributing to certain gender traits much like Lindhiem’s notation of it in the above paragraph (shown in bold in the last sentence), however concludes on a broader outline of sexuality as a whole, rather than focussing on just female traits.

Viola’s mediatory role between Olivia and Orsino’s households, coupled with her androgynous performance as a woman playing a man (adding further confusion to the Elizabethan stage convention of a male actors playing women on stage) evokes a form of genderbending and identity perplexity that pervades the play’s dramatic trajectory and opens up what is possible, if not overtly permissible, on a spectrum of sexuality.

Another way of making use of these critical readings is to draw from some of their sophisticated vocabulary. The following is an example of how a student was able to adjust and expand her vocabulary specific to their chosen lens by reading critical essays.

After studying a couple of feminist and queer critical essays to Twelfth Night , the student highlighted some repetitive language and terms used within the essays, and was able to use them within their own essay.

Casey Charles’ Theatre Journal exert Gender Trouble in Twelfth Night uses the phrasing

“ the phenomenon of love itself operates as a mechanism that destabilizes gender binarism and its concomitant hierarchies”.

The student went on to use the term gender binarism in one of her essay’s sentences:

In all, Twelfth Night delineates the true fluidity within gender binarisms as well as the way in which societal structures are enforced and reiterated…

Alternatively, the critical essay Gender Ambiguity and Desire in Twelfth Night by Maria Del Rosario Arias Doblas makes use of the terms “homoerotic” and “heterosexual” throughout its text - “homoeroticism residing in theatrical transvestitism… and homosexual allusions and so on pervade the play to create the “most highly intricate misunderstandings”’ - thus outlining the type of high-level language specific to a queer reading of the play that the student was able to implement in their own work:

In fact, Shakespeare oscillates between reinforcing patriarchal ideology and heterosexual language, and the deconstruction of such romantic ideals, simultaneously closeting and disclosing the queer possibilities typical to conservative societies that use violence to repress homosociality and police the safe expression of homosexual exploration within heterosexual norms.

As you can see, the student’s language is now specified to the type of lens they are using in their literary perspectives essay, and is also of a high register.

External or Contextual references

Another benefit of going through critical readings is the external or contextual references they make. An example of this is in Rethinking Sexuality and Class in Twelfth Night by Nancy Lindhiem, where the author makes reference to Narcissus, a character from Metamorphoses – a Latin narrative poem from 8 AD:

“For all the likelihood that both Olivia and Sebastian are seduced by a visual perception, we probably feel that Olivia succumbs mainly to Cesario’s way with words.9 Several critics have commented on the allusion to Ovid’s Echo in Cesario’s ‘babbling gossip of the air’ (1.5.277)”

Noticing this reference as a motif in many other critical readings too, this student decided to insert it into their own essay here:

These central relationships therefore reapply the idea of self-reflexivity while blurring the structured boundaries of identity stability, central to the Narcissus myth of which Echo from Ovid’s Metamorphosis forms a part ; “a very echo to the seat/ where love is throned” invokes a doubling motif, as well as the troubling foundation of representation over reality.

See how the student was able to discuss it in their own way? Referencing external texts in your literary perspectives essay can prove very useful if done once or twice, as it demonstrates that you are able to apply the values within the chosen text to wider elements of society and culture.

Getting started

One of the most efficient ways of going through these sorts of essays (which are often quite elaborate and at times difficult to understand fully) is to print them out, grab a highlighter and pen and skim through as much as possible. Highlight words, terms or phrases which spark your intrigue, or ones you feel you may be able to manipulate as evidence to support your own essay.

Overall, reading as many of these expert-written critical essays as possible can be extremely beneficial in developing a greater understanding of the critical lenses, the ideals and context of the Elizabethan theatre, and the way both dialogue and staging can be used as evidence in your own essays.

The more you know about the play, the more you’ll be able to write about it. So, get reading!

Links to the readings:

Rethinking Sexuality and Class in Twelfth Night, Nancy Lindheim

Gender Ambiguity and Desire in Twelfth Night, Maria Del Rosario Arias Doblas ‍

Gender Trouble in Twelfth Night, Casey Charles

Literature is probably one of your hardest VCE subjects. If it’s not, then go you! (please tell me your secrets).

However, if you’re anything like me, then you probably look a bit like this when you begin considering the overall meaning of a text, the author’s views and values, and how any three passages in the text create the meaning.

When I became awash with confusion, like our old pal Ryan Renolds, the first thing I did (after eating a whole block of chocolate), was ensure I understood the context of the text. Without a clear understanding of the context of your text, you cannot fully comprehend the views and values of the author, nor the overall meaning of a text (it’s also part of the criteria for literary perspectives)!

So if you want to be feeling like this after you write a piece for literature:

Consider the following:

AUTHOR’S CONTEXT VS. READER’S CONTEXT 

Austen was hunched over her small writing desk in the village of Chawton during England’s Georgian era as she wrote  Persuasion.  You are more likely reading it in a cozy bed, listening to Taylor Swift and half considering what you’re going to watch on Netflix later. Remember, your current social and cultural context can have a great influence on how you read a text, so it’s always important to imagine the author’s own context – whether this be very similar, or very different from the context of their text. It’s as easy as a Google search!

For a more in-depth look into how authorial intent and context is important in VCE English, read Context and Authorial Intention in VCE English .

SOCIAL CONTEXT

The social context of a text is the way in which the features of the society it is set in impact on its meaning. There are two aspects to social context: the kind of society in which the characters live, and the one in which the author’s text was produced.

Charlotte Brontë’s  Jane Eyre  was set in the same social context she herself lived in. It was one in which women were seen as the lesser sex, there was a great divide between the wealthy and lower class, and strict class boundaries were enforced. All of these societal features are key in determining Brontë’s views on the importance of social inclusion, and her championing of the strength of women. Or just listen to Phoebe:

HISTORICAL CONTEXTS

The historical context of a text is entangled with its social context, as underlying norms and convention are historically specific. The historical context is important to note especially when large changes have occurred between the time the work was produced, and our current day, so it is not assessed by our own concerns alone.

Aeschylus’ Agamemnon was first performed in 458BC, in Ancient Greece, a time vastly different from our own. Therefore, it is important to be aware of how the play was delivered, at the festival of Dionysus as part of a trilogy. Also have an understanding of the myths surrounding the Trojan War as well as those surrounding Agamemnon, Cassandra and Clytemnestra.

CULTURAL CONTEXTS

Culture refers to a particular ‘way of life’, involving religion, race and nationality, as well as things like food, dress code and manners. Furthermore, culture can relate to art, music, writing and literature itself. Cultural context, which is similarly linked with social, historical and ideological context, is especially important to note if the author is attempting to make a comment on an aspect of culture, or the clash of two cultures.

Cross cultural contact between an Indigenous tribe in Western Australia, and the British colonizers of this land, is explored by Kim Scott in his novel  That Deadman Dance.  He reveals aspects of culture largely unknown to current members of Australian society, as well as explores whether assimilation can be seen as a harmonious sign of friendship, or an intrusive loss of culture. The evolution, damage and protection of culture is an important context in this novel, and has a large bearing on the overall meaning of the text, as well as Scott’s views and values.

IDEOLOGICAL CONTEXTS

Ideology refers to the systems of beliefs and ideas that underpin our attitudes and behavior. Such ideology may be valued by society as a whole, or be the basis of conflict. Ideology is a context that is in many ways ‘invisible’. This is because our own is largely internalized and normalized, we act accordingly to our assumptions and social norms.

Many texts explore ideological context, either challenging or championing it. In his play  Who’s Afraid of Virginia Woolf?  Edward Albee challenged perceptions at the time of the family unit, portraying a couple that symbolizes the immense dissatisfaction caused by idealistic portrayals of marriage, and the fallacies of the American Dream. He illuminates how George and Martha escape from meaningless by creating fantasies and illusions, but how these eventually lead to the breakdown of their mental health.

So next time you’re struggling to get started on a literature piece, remember to think deeply about the different aspects of your text’s context!

Theme vs. Motif vs. Symbol

Themes, motifs and symbols are different kinds of narrative elements - they’re parts of a story that help to shape its overall effect. However, even though they’re words we use all the time in our English studies, it isn’t always easy to tell the difference!

This post will take you through some definitions , give you some examples and show you how you can use them in essays too. Let’s start with the broadest of the three…

What Is a Theme?

A theme is an idea or a subject that an author wants to explore. Themes appear throughout a work, and they’re often abstract ideas rather than concrete images that you can explicitly identify. Themes usually appear in interactions: for example, a parent reuniting with a child might evoke the theme of parenthood or family, an experience of discrimination might evoke the theme of prejudice or racism, a character facing a difficult choice might evoke the theme of morality or conflict, and so on. As you might be able to see, themes can require us to read between the lines because they are usually implied.

What Is a Motif?

A motif is something a bit more specific. Rather than an abstract idea, we’re looking for a concrete object (usually physical items, but also potentially sounds, places, actions, situations or phrases) that returns time and time again throughout a text. This repetition of motifs helps to create structure for a text - it can tether parts of the story to or around a central image. Because motifs are often linked to a theme , they can also serve as a reminder of that theme’s importance. For example, if the central theme was family or parenthood, the author might create a bird’s nest outside a character’s room; as we watch the bird and the chicks grow throughout the text, parallels are also drawn back to the theme.  

What Is a Symbol?

You can think of symbols as motifs minus the repetition . It’s the more default word we use when referring to an object that represents an idea, and unlike a motif, symbols only need to appear once to have an impact. They can simply tell us more about a character or situation in that instant, at that specific time, rather than being a parallel or recurring throughout a text. However, they’re still identified in a similar way to motifs: symbols are also concrete objects and they’re still connected to themes. 

Examples of Themes, Motifs and Symbols

Here are some text-specific examples for a closer look at these terms: 

Check out our Macbeth , Rear Window and The Great Gatsby blog posts for more on these texts. If you’re studying other texts, have a look at our list of text guides in The Ultimate Guide to Text Response .

Identifying and Using Themes

Themes usually come across in interactions , and a possible first step to identifying them is thinking about if an interaction is good or bad, and why. For example:

In Rear Window , one of the neighbours berates everyone else for failing to notice their dog’s death.

This is a bad interaction because:

• a dog dying is never any good
• it tells us that none of these neighbours are looking out for or really care about each other
• someone may have killed the dog

The theme we might identify here is duty. The film might suggest that we have a duty to look out for our neighbours (without sacrificing their privacy) or to do our part to keep the neighbourhood safe from potential criminals.

Another example might be:

In The Great Gatsby , the Sloanes invite Gatsby over for dinner without really meaning it.

• it tells us how nasty the Sloanes are
• Gatsby still seems to be a misfit despite his wealth
• Tom is at best complicit in the Sloanes’ insincerity 

The themes here might be society, wealth and class . This interaction shows us where these characters really stand with regard to these categories or ideas. Because he is ‘new money’, Gatsby cannot understand or fit in with the cruel and disingenuous customs of ‘old money’.

Most interactions in a text will fit into a theme somewhere, somehow - that’s why it’s been included in the story! Try to identify the themes as you go , or maintain lists of interactions and events for different themes. Because themes are so broad, they’re useful for guiding your understanding of a text, particularly as you’re reading it. They also provide a great foundation for essay planning since you can draw on events across the text to explore a certain theme.

Identifying and Using Motifs & Symbols

While themes can generally appear in texts without the author needing to make too much of an effort, motifs and symbols have to be used really consciously . A lot of interactions might just be natural to the plot, but the author has to take extra care to insert a symbol or motif into the story.

To identify either, pay attention to objects that might feel unusual or even unnecessary to the scene at first - from the examples above, Gatsby showing Daisy his shirts might seem like a strange detail to include, but it’s actually an important symbol in that moment. Then, you go into the brainstorming of what the object could represent - in this case, Gatsby’s newfound wealth. Symbols in particular often appear at turning points : the relationship between two characters might take a turn, an important sacrifice might be made or perhaps someone crosses a point of no return - all of these are potential plot points for the author to include symbols. For motifs , look more for repetition . If we’re always coming back to an image or an object, like Daisy’s green light or Lisa Fremont’s dresses, then it’s likely that image or object has significance.

Symbols and motifs can be more subtle than themes, but they will also help to set your essay apart if you find a way to include them. You’d usually include them as a piece of evidence (with or without a quote) and analyse what they tell us about a theme. For example:

‍ On the surface, Gatsby appears to be financially successful. Over several years, he has acquired many material belongings in order to demonstrate his great wealth. For example, Fitzgerald includes a scene featuring Gatsby tossing his many ‘beautiful’ shirts onto Daisy, who sobs as she admires them. This display of wealth represents the superficial natures of both characters, who prize material belongings over the substance of their relationship.

You don’t need a quote that’s too long or overpowering ; just capture the essence of the symbol or motif and focus on what it represents. This is a really good way to show examiners how you’ve thought about a text’s construction, and the choices an author has made on what to include and why. To learn more about text construction, have a read of What Is Metalanguage?

In regards to changing subjects once the school year has started: I've done a bit of research and it appears as though the deadline to change from one subject to another is determined by your individual school. Some schools have a deadline of only a couple weeks whereas others stretch it out a little further. Ask your school for exact dates if this is something you’re considering!

Once you have finished all your Literature SACs for the year, all that is left is a 2 hour and 15 minute exam that will play a major part in determining your end of year study score. It seems extremely daunting, and because many of the SACs differ from the exam task, you may be feeling a bit nervous or confused about what exactly the exam entails.

In describing the task, the exam paper states:

For each of your selected texts, you must use one or more of the passages as the basis for a discussion of that text.

In your pieces of writing, refer in detail to the passage or passages and the texts. You may include minor references to other texts.

Therefore, you must write two close analysis pieces on the exam, one on each of your chosen texts. You must use the three passages included on the exam to explore and analyse the text as a whole. Most of your piece should be analysis of what is in front of you in the exam, but you must also use evidence from outside the passages, to demonstrate your knowledge and connection with the text.

The exam will be marked against a criterion that differs from any of your SACs (although it is quite similar to your close analysis SAC). Therefore it is imperative to understand the criteria you will be marked on before beginning to study for the Literature exam, and especially before you try some practice exams. They are as follows, and can be found on the VCAA Literature exam page.

• Understanding of the text demonstrated in a relevant and plausible interpretation

This criteria relates to your ability to show your comprehension of the text. The examiner will be noting whether the concepts, ideas and themes in the text are understood. They will assess your interpretation of the text, and whether it is relevant and fair in relation to the meaning in the text

• Ability to write expressively and coherently to present an interpretation

Literature is a writing subject, therefore this criteria asks that you write with fluency, an expressive vocabulary and clarity. Your piece must also be a coherent, unified work that clearly articulates your discussion and interpretation of the passages and text as a whole. This criteria can also relate to your use of grammar, punctuation and spelling as the clarity of your piece can be threatened if these are not used correctly.

• Understanding of how views and values may be suggested in the text

You must demonstrate an ability to identify, discuss and analyze the views and values within the text. You must be able to support your discussion with evidence from the text

• Analysis of how key passages and/or moments in the text contribute to an interpretation

Your ability to analyse the three passages, as well as the text as a whole, and draw an interpretation from them. Examiners will be looking to see that you can use set material and the whole text as a basis for discussion.  

• Analysis of the features of a text and how they contribute to an interpretation

This criteria determines that you must identify factors including metalanguage, specific language and authorial techniques, and discuss how they create meaning. Remember that this is literature, so discussing the different elements used to construct a text (character, plot, setting, motifs, symbols” is imperative.

• Analysis and close reading of textual details to support a coherent and detailed interpretation of the text

This criteria determines that you need to use evidence from the text (including quotes) in order to aid a logical and comprehensive interpretation of the text. Examiners will be looking at your ability to look deeply into smaller authorial choices, and how they create meaning.

Best of luck!

1. Don't focus just on ideas and avoid language engagement.

Language engagement is every bit as important as ideas. Sometimes, when you get stuck in philosophical musings, you might find yourself in a place where you're spouting on and on about solipsism or the intrinsic desire for independence in the 19th century Norwegian working class. Literature essays are all about finding balance, and here, that balance means language engagement. Whether you are writing about literary criticism or a passage analysis, you have to be able to support your interpretations with textual evidence.

Often, this requires some creative thinking. You can have a lot of fun with it and the examiners like you to pick up on small details and connect it to a grander scope.

Here's an example from Jane Eyre.

“my eyes seemed as if they had beheld the fount of fruition, and borrowed beams from the lustrous ripple.”

“I was not surprised...to feel...the breathing of a fresh and fragrant breeze...The rooks cawed, and blither birds sang; but nothing was so merry or so musical as my own rejoicing heart.”

In this passage, Jane is rejoicing over her marriage proposal, but readers are led to understand that this may be a false, idealistic dream of hers. Note the patterns of alliteration – the fricative 'f' shifting to the plosive 'b' in “fount of fruition” and “borrowed beams” then again from “fresh and fragrant breeze” to “blither birds”. What could it possibly mean?

Fricatives tend to indicate freedom, whereas plosives tend to indicate an abruptness – a harsh change. Perhaps, Jane's wild, free joy is immediately followed by plosive alliteration so as to illustrate how her happiness is cut short and her dream is a false one – she will attempt to achieve freedom through this romance, but she will be abruptly and unceremoniously prevented from attaining it.

Regardless, in any passage, there are always things to talk about and little language quirks to exploit to figure out an interpretation. Start from these little details, and build out and out until you tackle your big ideas. All of these ideas should be rooted in language.

2. Don't prioritise complicated language over ideas.

Often, when you think that expressive, complicated writing takes priority over ideas in Literature, you tend to end up with flowery material that becomes more convoluted than it is effective. If you are one of those people (I know it's hard) but kill your darlings. Focus on coming up with original ideas, and express them clearly. Cut out redundancies. Be expressive in a way that is natural and in a way where you know that first and foremost, your language is accurate. Don't go around using metaphors purely for the sake of sounding intellectual when you can express something equally eloquently and beautifully with simpler, fluent text.

Remember: this is not to say that you shouldn't be expressive in Literature. In fact, writing style and the ability to write well is a fundamental component to doing well in this subject. It is just vital that you strike the right balance. This is a good lesson to learn sooner rather than later - and you'll be steering into prime territory for the exam.

3. Don't treat Literature like an English essay. Be free!

Good Literature essays generally tend to be more lively and expressive than English essays. Why? Because Literature just doesn't operate under the same criteria, and it shouldn't be treated as such.

Don't feel like putting in an introduction/conclusion? No need! Don't feel like sticking to a TEEL structure? No problem!

Your focus is creating writing that moves along at a natural, expressive pace, moving through textual evidence to broader ideas. You don't have a structure. You don't have a paragraph quota. You have free reign over a lot of how you write your Literature essays – so find out what works for you.

4. Come up with original interpretations and don't stick with popular readings.

Literature is one of very few subjects in the entirety of VCE that rewards original thinking. You don't need to go with the crowd consensus on how to read your text: as long as you have the evidence to support your reading! The examiners will reward complex, creative, and unique ideas. Every passage analysis you write should be approached with a fresh perspective – base your interpretation around the text in front of you, and not a dogmatic set of ideas that you bring with you.

5. Let the text before you provide you with the ideas, don't force your ideas into the text.

By reading literary criticism and expanding the scope of your ideas, you can apply original readings to each set of passages you have. Your essays stand out when they cover new, uncharted territory.

Literature is all about balance. If you can find it in you to balance language engagement, interpretation, and writing style, I'd say you have yourself a pretty good essay.

Remember not to fall into any of the common traps of the subject, and you'll have put yourself on solid footing to become a true literati.

How Genre Works

We’re not supposed to judge a book based on its cover, but for some reason, we just can’t help it. Sure, we may not be able to tell if we’re going to enjoy the book, nor can we tell what exactly it’s about, but we can tell the tone, set our expectations, and most importantly, guess at the genre. Look at these three book covers and note how they perfectly show their genres - Sci-Fi, Horror and Life Drama, respectively. 

Genre is a way of categorising media. We split books, film and music into genres in order to better talk about them and because humans have a strange desire to sort and categorise things. Within whatever medium, genres display certain structures, characters and tropes that audiences expect from that genre . Audiences like to be able to tell the genre of a text because it’s comfortable. If I go to see a superhero movie I expect wacky costumes, cliche dialogue and a final battle scene that the heroes win - were these expectations not to be met, I would likely be a little bit peeved off. 

But why should you care about genre in VCE Literature? It’s not on the study design?  

Well, not explicitly. In each AoS of the study design, you must engage with ‘the ways the literary forms, features and language of texts affect the making of meaning’ , and/or ‘the ideas of a text and the ways in which they are presented’ . Genres are a feature of texts and are one of the ways that a text will present its ideas. Horror is the most notable example of a genre that uses its tropes to send a message - It Follows is a horror where the monster stands in for sexually transmitted disease, Carrie uses horror to show the horrors of high school, Frankenstein is a criticism of those who would ‘play god’. In the Literature study design, the horror genre is represented by Bram Stoker’s 1897 masterpiece, Dracula.  

For an overview of the Literature study design, check out The Ultimate Guide to VCE Literature . 

Dracula + The Gothic

I invite you to think hard about the horror films you’ve seen and to try to place Dracula into our modern view of horror. It’s hard to put Stoker’s vampire on the same stage as the Babadook , Annabelle or even the ‘70s slasher craze. This gives us an incredible opportunity to consider how audiences engaged and continue to engage with genres. In order to analyse genre, it is essential to recognise what the audience’s expectations were of a genre, and how the author has utilised those expectations for their own ends. Let’s consider Dracula in context .

‍ Dracula is a horror novel. But, we usually don’t think about those uptight Victorians reading texts that were designed expressly to scare. The Victorian era was actually one of the golden ages of horror literature though. But, it is distinctly different from our modern understandings of horror as defined by trailblazers like Stephen King. So, why is it different? It is here we must consider the sub-genre. If you have read anything about Dracula , you’ll note that it is referred to as a ‘gothic horror’ . The gothic genre of literature encapsulates some of the 19th century and certainly the Victorian period’s (1837-1901) best literature. Dracula of course belongs to this group, but it blows up around 1818 with Mary Shelly’s Frankenstein . Edgar Allen Poe, with his short stories and poetry, is widely lauded as the ‘Father of American Gothic’, with ‘The Fall of the House of Usher’ published in 1839. Note the dates here. Stoker published Dracula in 1897, a good 79 years after Frankenstein began haunting readers. Which means he had an established and large genre to work with. So, how did Stoker use the gothic in Dracula?

Tropes of the Gothic

1) the gothic monster.

The vampire myth used by Stoker is turned into the quintessential gothic monster. Dracula existed in the Victorian mind alongside Frankestein’s monster, Mr. Hyde, and Poe’s mixture of humans made monstrous and surreal monsters like that in ‘The Masque of the Red Death’. The defining feature of the gothic monster is its role in the story as a representation of something wrong with society, whether it’s increasingly amoral medicinal science, human greed or perverted desire. 

2) The Creepy Castle

The creepy castle doesn’t have to be a castle. It can be a mansion, a university or the graveyards of London. The important thing is that the setting of the gothic novel should always be - by default - terrifying and evoke a sense of danger. You can never get comfortable in Dracula’s castle, nor in Seward’s asylum, and neither can the characters. 

3) Damsel/s in Distress

For sure an outdated trope, but a constant in the gothic. It’s a quick and simple way to show that the innocence of young women is threatened by a malignant force. In Dracula , look to Mina, Lucy and Mrs. Westenra. But what happens when the damsel saves herself?

4) Omens, Portents, Visions

Visions in dreams? Random wild animals escaping from ships? Ships docking with a completely dead crew? Random changes in the weather? You might be dealing with a gothic villain, or going mad. In either case, Renfield, Dracula, Mina and Jonothan all deal with portents and visions. 

And This Is Important Because…

Stoker has followed the predominant tropes of the gothic horror genre. Why is this important for our analysis of Dracula ? The ways in which authors use genre and other stylistic elements like form, voice or plot relate directly to their intentions. If we investigate the particular aspects of Stoker’s use of the gothic, we may better understand the views and values that he is promoting. For instance, let’s take Dracula as the gothic monster. Since the gothic monster is always a way to reflect society back onto itself, how is Stoker doing that? A feminist analysis might take Dracula as a reflection of sexual deviancy, which then ties into his constant threat towards women. A post-colonial analysis might question the foreignness of Dracula, and view him as a part of the intrusiveness of foreigners in English society. Either way, you’re touching on a view or value presented by Stoker, and tying it to an aspect of the gothic genre in a way that conveniently also touches on characterisation. 

Let’s complicate things a little more. The ‘Damsel in Distress’ trope is clearly evident in Dracula , but what view or value is Stoker commenting on by its inclusion? The simplest answer is that, by showing that women cannot save themselves, Stoker is saying that women are inherently weak and need to be saved by men. But this answer isn’t sufficient for a number of reasons. Firstly, what are the women weak to? Is it a physical mismatch between the women and Dracula, keeping in mind that Dracula is also stronger than the novel’s men? Or is it a symbolic weakness to some aspect of Dracula’s character, be it sexuality or magic? Secondly, and more importantly, are all the women victimised by Dracula the same? Well, obviously not. 

It could very well be argued that Stoker is subverting the ‘Damsel in Distress’ trope by actually giving us a woman who is able to be her own saviour (which is actually becoming a trope in itself nowadays!). The dichotomy between Lucy and Mina is a crucial aspect of the text, and the way that Mina’s character doesn’t quite fit into the ‘Damsel in Distress’ archetype is a major interpretative dilemma. By considering the genre tropes, Lucy is clearly a ‘Damsel in Distress’ who cannot save herself and is unduly victimised by Dracula. It can be argued that her implicit promiscuousness is punished through her murder, but in whatever case, she is distressed and must be saved. Mina, however, has an entirely different view of her distresses. Not only does Mina take on a caring role towards Jonothan - in which Jonothan becomes a ‘Master in Distress’ - she actively supports the attempts to save her and kill Dracula. By compiling the journals, letters and newspaper clippings into the epistolary that we the audience are reading, and using herself as a window into Dracula’s mind through their psychic connection, Mina proves to be a means by which to save herself from her distress. So, the question of what Stoker actually thinks about women is still quite open: Lucy is seemingly punished for her character flaws, which indicates a misogynist view of women’s sexuality, but Mina is praised for her use of masculine qualities like leadership and stoicism. Is Stoker saying women should be more masculine? Less masculine and more traditionally feminine? This entire discussion revolves around how and why the ‘Damsel in Distress’ trope is being followed or subverted. 

Using Genre in VCE

Whilst a genre-based analysis (or a structural analysis) can be a fantastic way to open up discussion and leads to important questions about views and values , the way I have presented it may appear to be another useless and long-winded thing you have to try to shove into an essay when you already have to balance so much in Literature! Fear not, because there are a couple of really easy ways to fit genre into essays without taking up loads of space.

Option one is to use a genre trope as the basis of a paragraph. If your essay contention is that…

‍ ‘Stoker presents the dangers of foreign immigration to England at the height of its colonial empire’

…then you can easily write a paragraph discussing that…

‍ ‘Stoker employs the gothic trope of a supernatural monster in Dracula, using this vampire as a stand-in for foreigners in England’.

This paragraph would discuss Dracula’s characterisation, and the settings of Transylvania and London, whilst investigating Stoker’s views on England’s colonialism and race. In a Developing Interpretations or Close Analysis essay, you’ve just touched on several key criteria, including the author’s views and values , your own credible interpretation of the text and how the text presents its messaging (through characterisation and setting). You can do all these things without mentioning genre, but by explicitly using the language of genre analysis you are likely separating yourself from the student next to you - who had a similar idea but described it in a less interesting way. This is the utility of understanding genre, it gives you the words and concepts necessary to improve your writing and interpretation. The ‘Gothic monster’ is an easy way to describe an otherwise GIANT concept.

Another way is to add it to other analyses in passing. Instead of saying “ Dracula presents Lucy and Mina as foils to demonstrate the ways in which modern women’s promiscuity is ultimately harmful”, you can say “the presentation of Lucy and Mina as two ‘damsels in distress’ in dichotomy with each other demonstrates the differing ways in which Victorian women could doom or save themselves” . The latter sentence has not significantly changed the content of the first, still referring to the women’s opposition to each other, but by phrasing it with ‘damsels in distress’ I leave open the possibility of discussing not just Lucy’s promiscuity, but also Mina’s conservative womanhood. 

Finally, you need not even mention genre or its tropes in the essay, just use it as a thinking tool. If you go back through the previous section of this blog, you’ll see just how many questions I am asking about the tropes and ideas I am discussing. By using the trope as a jumping-off point for a series of questions, I can develop a nuanced understanding of multiple views and values and the ways in which they interconnect. Take a trope like the ‘creepy castle’ and ask:

“Why would Stoker put Dracula manor in the text?”

“Because it sets up the ‘otherness’ of Dracula.”

“Why do we need to know that Dracula is the other?” 

“Because he represents a supernatural foreignness that we need to be scared of.”

“Okay, but why is it right at the start, why is it from Jonothan’s perspective?” 

All of these questions offer ways of breaking down the text and they will naturally lead to questions about structure, characterisation and views and values. In doing this, you can start to come up with ways to turn those questions, or the order of those questions into an essay structure. Moreso, this type of questioning is what your teacher, tutors and top-tier Literature students are doing. It is a constant process of asking, answering, reconsidering, reasking and synthesising. And genre is an easy way to start the process. 

So there’s approximately a month to go before the Literature exam. Nervous? Confident? Over it?! You might be thinking that they best way to study up until the exam is to just churn out essays after essays after essays. This is a common misconception, and may even hurt your chances for the exam. You want your essays to be ‘fresh’ with original insight, not stale pieces that sound like you’ve written this a hundred times and you’re getting bored. Here are a few tips on how to study for the exam while still keeping your mind activated about Literature!

Critique critical commentary

Google critical commentary on your text. You might pick up a new insight or perspective that you’ve never thought of. These can help you inform your own original and individual interpretation of the text. It is important to note that while reading critical commentary is incredibly useful in providing ‘clever’ interpretations, examiners are really looking for your own interpretation – not a regurgitated version of other people’s analyses. Rather than passively reading critical commentary, critique it yourself! Acknowledge and file away its good points, but also form your own stance with whether you agree or disagree with that point of view. Ask yourself why that is your perspective. Developing this critical analysis skill is extremely valuable, and will put you in the mindset for the exam to provide your own original interpretation that  pushes the boundaries and the envelop e.

Choose random passages and annotate

Close your eyes and pick a random a couple of passages from your text. Photocopy them, print them, however you like, but the most important thing is to spend time annotating them in as much detail as possible. Focus on analysing the language for how the author constructs the text to create meaning. Note sentences that can link to the wider text. This really forces you to analyse the most random passage in the text in extreme detail, which you might have skipped over in class or in your own reading, because it might not have seemed important at the time. Who knows, the exam could throw in a surprise passage that students might not have thought to study in great detail, and you have because you’ve been analysing passages at random – not just the major key events!

Examiner reports and  word bank

Look through VCAA examiner reports for sample excerpts from high scoring responses. Highlight words and phrases that sound ‘good’ – and adapt them to use yourself! There’s nothing wrong with drawing inspiration (stealing) from the examiner reports essays… after all they’re there for you to learn from. Key: you’re drawing inspiration from words, not ideas or sentences – otherwise that’s just plagiarism and won’t help at all. Create a word bank of vocabulary that suit your texts, which can be a great prompter when you’re struggling to think of a word that accurately expresses on paper what you want to say in your mind.

Timed conditions

The biggest issue with every literature student in the exam is  timing . There’s always so many things you want to write and include, that it is simply not possible to include everything. Time yourself. Practice writing in timed conditions. Be disciplined with your time – going over time for the first essay to include maybe one more good point, is to sacrifice finishing your second essay.

Exams are without a doubt a stressful period of time for all VCE students, and it can be easy to get caught up and overwhelmed with expectations, wanting to prove yourself and balancing the workload of your other exams. Find time to do small things to benefit yourself for the exam without compromising your mental power (after a very long marathon). Good luck and believe in yourself!

Updated for the new 2023-2027 Study Design!

AoS 1: Adaptations and Transformations

Aos 2: developing interpretations.

• AoS 1: Creative Responses to Texts

AoS 2: Close Analysis

This is your ultimate guide to everything you need to know to get started with VCE Literature. We will be covering all the sections within Units 3 and 4, and have included resources that will help improve your skills and make you stand out from the rest of your cohort!

Scope of Study

Here's what the VCAA study design states...

'The study of VCE Literature fosters students’ enjoyment and appreciation of the artistic and aesthetic merits of stories and storytelling, and enables students to participate more fully in the cultural conversations that take place around them. By reading and exploring a diverse range of established and emerging literary works, students become increasingly empowered to discuss texts. As both readers and writers, students extend their creativity and high-order thinking to express and develop their critical and creative voices.'

'Throughout this study, students deepen their awareness of the historical, social and cultural influences that shape texts and their understanding of themselves as readers. Students expand their frameworks for exploring literature by considering literary forms and features, engaging with language, and refining their insight into authorial choices. Students immerse themselves in challenging fiction and non-fiction texts , discovering and experimenting with a variety of interpretations in order to develop their own responses.'

...but don't worry if the above is vague, we'll take you through exactly what you need to know for Year 12 Literature! Let's get into it! ‍ ‍

In Unit 3, students consider how meaning is created through form, and how different interpretations may be developed out of a singular text. First, students understand how writers adapt and transform texts, and how their interpretation of the text impacts this transformation into a different form. Secondly, students use another text to develop their own interpretations of a text with regard to its context , and views and values . Unit 3 School-Assessed Coursework is worth 25 per cent of your total study score!

This task is designed for you to critically analyse and actively engage with the text, understanding its nuances inside and out in order to decipher its meaning. Be individual in comparing and contrasting the two texts – avoid the obvious similarities/differences everyone in your class will also notice. It is the insightful analysis of the subtleties of how meaning is altered that will help you stand out!

Here are some important aspects to consider and questions to ask yourself while tackling this SAC:

• Identify the unique conventions in the construction of the original text
• Now do Step 1 with the adapted/transformed text
• How do the two text forms differ ? How are they the same ? The most crucial step is what meaning can be derived from the similarities and differences? How does the meaning change? ‍
• Note additions and omissions (and even silences) ‍
• Historical context and setting ‍
• How does the change in form impact you as the reader/viewer ?
• Incorporate pertinent quotations from both forms of text to substantiate and support your ideas and key points.

Most importantly, share your original interpretation of what meaning and significance you can extract from the text, and how you believe it changes once the form alters.

Also ask yourself these questions:

• ‍ What makes the text in its original form interesting or unique?

Is that quality captured in its adaptation/transformation?

‍ For more detailed explanations on these 7 aspects, you might want to check out Adaptations and Transformations Lit SAC: A How To Guide.

Developing interpretations is an AoS that focuses on investigating the meaning and messages in texts, as evidenced by the text itself, it’s author and their context . As per the study design:

'Students first develop their own interpretations of a set text, analysing how ideas, views and values are presented in a text, and the ways these are endorsed, challenged and/or marginalised through literary forms, features and language. These student interpretations should consider the historical, social and cultural context in which a text is written and set. Students also consider their own views and values as readers.'

Following this, you investigate a supplementary reading which will offer another interpretation of the text, which may enrich or challenge your interpretation by agreeing or disagreeing with your interpretation. Using this supplementary reading, you reconsider your initial interpretation and apply your new understanding of the text to key moments. 

The SAC for Developing Interpretations is a little bit weird. It’s worth 50% of unit 3 (or 25% of your total study score), but is split into two parts:

• Part A: An initial interpretation of the text’s views and values within its historical, social and cultural context.
• Part B: A written response that compares/interweaves and analyses an initial interpretation with a subsequent interpretation, using a key moment from the text.

Your teacher might do the two parts together, or separately. In any case, Part B will include the use of a passage from the set text that you must engage with. How does the passage help you to interpret the text, and how does that interpretation agree or disagree with the interpretation presented in the supplementary reading? 

The most difficult part of the SAC for this AoS is balancing your interpretation, the textual evidence, and the alternative interpretation of the supplementary reading. It is vital that if you are doing Literature this year, that you know your 3.2 text like the back of your hand, and that you practice writing loads and loads. It is also worth trying to make your interpretation incredibly specific, so that you can go in-depth into one idea, rather than simply skimming over 3 or 4 big ideas. 

For more on Developing Interpretations, you might want to check out VCE Literature Study Design (2023-2027): A Guide to Developing Interpretations which explains in detail what the new AoS is about and what you need to do.

And, if you're studying Alias Grace you'll find our Developing Interpretations SAC Guide on interpreting Alias Grace especially helpful.

‍ Unit 4: Interpreting Texts

Aos 1: creative response & reflective commentary.

The most important part of this task is that you must have a highly convincing connection between the original text and your creative response .

There must be a tangible relationship present, through an in-depth understanding of the original text’s features. These features include characterisation (what motivates these characters), setting, context, narrative structure, tone and writing/film style.

You can establish this relationship by: ‍

• Adopting or resisting the same genre as the original text
• Adopting or resisting the author’s writing/language style
• Adopting or resisting the text’s point of view
• Adopting or resisting the original setting, narrative structure or tone
• Writing through a peripheral character’s perspective
• Developing a prologue, epilogue or another chapter/scene
• Rewriting a key event/scene from another character’s point of view: Does this highlight how important narrative perspective is?
• Recontextualising the original text

For detailed explanations on how to establish these relationships, read "Creative Response To Text" Ideas .

The VCAA Literature Study Design also determines that students must submit a ‘close analysis of a key passage’. This aspect of the assessment counts for 20 of the 60 marks available for the Create Response outcome. The study design elaborates that students must produce:

‘A close analysis of a key passage from the original text, which includes reflections on connections between the creative response and the original text.’

In short, VCAA wants you to not only analyse the original text and use it as the basis for your Creative Response, they want you to be able to closely analyse a section of the original text, and link it to and reflect upon your creative response. This is different from previous years and the same task in English, the Reflective Commentary. You must use the skills of close analysis in this task. To include these things, look to the key knowledge and skills outlined in the study design. 

Key Knowledge:

• Understanding of the point of view, context and form of the original text
• The ways the literary form, features and language convey the ideas of the original text
• Techniques used to create, recreate or adapt a text and how they represent particular views and values

Key Skills:

• Discuss elements of construction, context, point of view and form particular to the text, and apply understanding of these in a creative response
• Analyse closely the literary form, features and language of a text
• Reflect on how language choices and literary features from the original text are used in their adaptation

As you write, ensure you are discussing how the author uses point of view, context, form, elements of construction and stylistic features in their text. It is imperative that you describe how you have similarly used such device in your creative response. Ensure that you also discuss how you are involving the ideas and themes of the text in your creative piece, and how you are discussing them further, or exploring them in greater depth. Obviously only talk about those that are relevant to your creative response!

To read a sample Reflective Commentary, check out Elly's blog post on how to Score 10/10 On The Reflective Commentary ‍

From the VCAA study design:

'In this area of study students focus on a detailed scrutiny of the language, style, concerns and construction of texts. Students attend closely to textual details to examine the ways specific passages in a text contribute to their overall understanding of the whole text. Students consider literary forms, features and language, and the views and values of the text. They write expressively to develop a close analysis, using detailed references to the text.'

In plain words, your teacher (and eventually examiner in the end of year exam) will give you 3 passages from your text. You'll be asked to read each of these passages, identify key ideas or themes present in each of the passages, and write an essay in response.

Writing the Introduction

Introductions are an excellent way to showcase your ability to provide an insight into your personal “reading” of the text, interpret the passages and allow you an avenue through which to begin your discussion of the material.

When constructing introductions, it is important to note that the VCAA Literature Exam Criteria is as follows: ‍

• Considering these points, your introduction should feature these 2 elements: your personal reading of the text and your interpretation of the passages.
• In terms of structure, try to begin with a sentence or two explaining your personal reading of the text. The key to doing so in a manner befitting Close Analysis however, is to utilise quotes from the passages to supplement your assertion.

Head over to Jarrod's blog to read a sample introduction: VCE Literature Close Analysis: Introduction ‍ ‍

Extra Resources

Views and Values

VCE Literature Essay Approaches - Not a Language Analysis

What is Authorial Intent in VCE English and Why Is It Important?

The Importance of Context in Literature ‍

Study Techniques: How To Approach a Text That You Hate

Why Genre Matters in VCE Literature: An Analysis of Dracula

Developing Interpretations SAC Guide: Interpreting Alias Grace

Imagine a friend tells you eerie accounts of her witnessing a ghostly presence in her home. You scoff and condescendingly humour her. But as her stories begin to manifest itself in her gaunt appearance, you alarmingly notice how she truly believes in the apparitions she recounts. You begin to doubt her sanity, you begin to doubt the certainty with which you dismissed her supernatural visions and now, you begin to doubt yourself. THE SUSPENSE BUILDS.

But let’s say this friend filmed the ghostly apparitions and showed them to you. Sure – the evidence of this ghost is frighteningly scary. But the suspense that was built in the doubt, uncertainty and ambiguity of your friend’s tale is now lost. The ghosts caught in film acts as another eyewitness and another medium to validate your friend’s narrative. Your friend is no longer the only person who sees these ghosts, shattering all doubt within you of the ghost’s existence. THE SUSPENSE – is gone.

Notice how the form and genre of the spoken word in the first example was meaningful in its the effect on the reader? But when the form changed to a film, the meaningful suspense and ambiguity that was unique and crucial in the original text,  changed , and was no longer as pronounced. Yes – the film itself may be terrifying. But the very doubt and suspense around not knowing if your friend was a lunatic for seeing ghosts or if she was telling the truth all contributes to the meaning derived from the form of the ‘text’ in an unreliable first person narrative. This is the crux of adaptations and transformations, and what you need to identify and analyse –  how the meaning is changed/altered when the form of the text is changed .

Here are 7 lucky tips for how to tackle the SAC:

• Identify the unique  conventions  in the construction of the original text – characterisation, genre, tone, style, structure, point of view/narration (or any devices employed in constructing the text e.g. cinematic devices in a film such as camera angles, framing, lighting, costumes, interior/exterior settings, sound)
• Now do step 1 with the adapted/transformed text
• How do the two text forms  differ ? How are they the  same ? However, be sure you do not simply compare and contrast. The most crucial step is what  meaning  can be derived from the similarities and differences?  How does the meaning change?
• Note  additions and omissions  (and even silences) – do they change how readers/viewers perceive the narrative and alter your opinions and perceptions of the text?
• Historical context and setting  – what significance does the context have on the narrative? Has the adaptation/transformation been re-contextualised? Does that alter the meaning of the original text?
• How does the change in form  impact you as the reader/viewer ? Analyse your own reactions and feelings towards each text form. Do you sympathise with a character more in the original text? How are we positioned to feel this way? Why do you lack the same level of sympathy for the adapted/transformed text?
• Incorporate pertinent  quotations  from both forms of text to substantiate and support your ideas and key points.

Final questions to ponder

Most importantly is to share your  original  interpretation of what meaning and significance you can extract from the text, and how  you believe  it changes once the form alters.

What makes the text in its original form interesting or unique?

As always with Literature, this task is designed for you to critically analyse and actively engage with the text, understanding its nuances inside and out in order to decipher its meaning. Be individual in comparing and contrasting the two texts – avoid the obvious similarities/differences everyone in your class will also notice. It is the insightful analysis of the  subtleties  of how  meaning is altered  that will help you stand out!

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How to Write a Close Reading Essay: Full Guide with Examples

writing Close Reading Essay

There is no doubt that close-reading essays are on the rise these days. And for a good reason — it is a powerful technique that can help you make your mark as a student and showcase your understanding of the text.

In this type of writing, readers will read the literary text carefully and interpret it from various points of view. Read on.

Also Read: Does Turnitin Check Other Students’ Papers to Check Similarity

What is a Close Reading Essay?

A close-reading essay is an in-depth analysis of a literary work. It can be used to support a thesis statement or as a research paper.

A close-reading essay focuses on the tiny themes inherent in a literary passage, story, or poem.

The focus of this type of essay is on critical thinking and analysis. The author will look at the small details that make up the overall meaning of a text.

The author will also consider how these tiny themes relate to each other and how they are presented within the text.

The key areas where a close reading essay focuses include:

• Motivation and setting – This includes why the author wrote the piece and their purpose when they chose to write it. You can explore this through character analysis as well as themes that are common across multiple works.
• Characters:  While characters may or may not have any significance in an overall plot, they can make up many of the elements discussed in this essay. For example, if you were analyzing Hamlet, then you would want to look at how Hamlet’s character affects his motivation for suicide (which is directly related to his madness) and how it relates to his relationship with Ophelia.

Also Read: How to Answer “To What Extent” Question in Research & Examples

How to Write a Close Reading Essay -Step-By-Step Guide

1. read the selected text at least three additional times.

Analyze the text using your critical thinking skills. What are the author’s main points and purposes? How does the author develop these points? What evidence does he or she use to support these points? How do other writers in the field of the study compare with this author’s views?

Compare and contrast this author’s point of view with other writers in your field of study. What is their purpose in writing? What evidence do they use to support their positions?

How do they compare with this writer’s views?

2. Underline Portions of the Text that you Find Significant or Odd

The purpose of this section is to give the reader a sense of the author’s tone and approach to the subject.

A close-reading essay should be read at least twice, preferably three times. Underline or highlight any portions of the text that you find odd or significant.

Ask yourself: What does this mean? How does this affect my view of the work? What questions do I have now that I didn’t have before?

Take notes on what you think might be important. You may want to write down your questions and observations as they occur to you while reading your essay. Make sure they are hierarchical so they can easily guide your next step in writing about them.

3. State the Conclusions for the Paper

A close-reading essay analyzes a text and the author’s meaning. The key to this type of essay is the ability to conclude a text. It requires the student to think critically about what he/she has read and how it relates to other texts.

The most important aspect of writing a close-reading essay is being able to conclude after reading through a piece of work and analyzing it. The reader should always be able to answer questions like:

• What does this author mean?
• How can I apply this message to my life?
• Is this message relevant in today’s society?

4. Write your Introduction

The purpose of your paper is usually stated in the introduction somewhere (it might be buried in an abstract).

In other words, it’s not enough just to tell readers what they need to know; they also need some motivation to read further if they don’t know why they should read.

5. Write your Body Paragraphs.

A body paragraph is the bulk of your essay. It’s the place where you flesh out your ideas and connect them to the overall topic.

It’s easy to get bogged down in the details when writing a close-reading essay, so it’s important to stay focused on the big picture of what you’re trying to say. Here are some tips for developing your body paragraphs:

• Start with a thesis statement: Make sure that each paragraph starts with an idea or question that relates to the main point of your thesis statement. For example, suppose you’re writing about how human beings have been impacted by technology in society; then, in your first paragraph. In that case, you might want to talk about how computers are changing our lives and what this means for us as individuals and as a culture.
• Link ideas together:  Be sure that each paragraph is directly related to the previous one (or else your readers will lose track). Use transition words like “however,” “however,” “in contrast,” and “on the other hand,” or even simply add supporting details from different sources throughout each paragraph.

6. Write your Conclusion

When writing a conclusion to your close reading essay, you’ll make a few points about why you think the book is worth reading. You should focus on whether or not the author has succeeded in his or her main objective and whether or not it’s an interesting book.

You should also consider how the author has achieved these goals. Did they succeed because of their writing style? Or did they use an effective structure? Did they make some unique observations that you hadn’t thought of before?

Do you have any specific questions about what was done well in the book? If so, ask them now so that you don’t forget to ask them when it’s time for your argumentative essay!

Also Read: How to Write an Enduring Issues Essay: Guide with Topics and examples

7. Close Reading Essay Examples

Below are three close-reading essay examples on the topic of “The Great Gatsby” by F. Scott Fitzgerald. The first example is from a student named Brandon:

The main character, Jay Gatsby, is one of the most interesting characters in literature that I have ever read about.

He was a millionaire who married into a family of lower-class people and became friends with their daughter Daisy Buchanan, who had recently graduated from college and moved to New York City, where she met his son Nick Carraway.

Jay Gatsby was so fascinating to me because he had a lot of passion for life; he never gave up on what he wanted, even though he had nothing to back it up.

When I read this book, I learned that some people don’t care about what happens to them or what other people think about them; they just do their own thing and don’t let anything stand in their way of achieving their goals in life (Gatsby).

When I read this book, I also learned about love and hate because there were many different sides to each character’s personality throughout the book (Gatsby).

In conclusion, “The Great Gatsby” is an interesting book.

Example Two

The main character in the novel, Adam Bede, is a strong-willed country boy who looks down upon city folk. He has no interest in being educated and feels that he would rather work on a farm than attend school.

He does not seem to have any particular talent or skill that would make him stand out. However, it is not until he meets the wealthy Miss Lavendar that he can express his talents through writing poetry and music.

The first time Adam meets Miss Lavendar, she sits at a piano playing a piece by Mozart. Adam has never heard music like this before. It is so beautiful that he immediately falls in love with her. The two become friends and eventually marry each other.

However, when Adam becomes famous for his poems about Miss Lavendar, she begins to feel threatened by her new husband’s success. She leaves him for another man named Mr. Thornton. He has money and power but no talent for writing poetry or music like Adam.

 Cat on a Hot Tin Roof by Tennessee Williams

The play tells the story of a family during the Great Depression in Mississippi. Brick Pollitt has just returned home from World War I where he has been injured in battle and subsequently discharged with a disability pension.

His wife Maggie is expecting their first child, while his son Paul lives in New Orleans where he works as a pianist for a white man named Big Daddy Pollitt who owns a brothel in which Paul performs sexually explicit acts for the patrons at Big Daddy’s establishment called “The Brick House.”

With over 10 years in academia and academic assistance, Alicia Smart is the epitome of excellence in the writing industry. She is our chief editor and in charge of the writing department at Grade Bees.

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Elaine Showalter describes close reading as:

...slow reading, a deliberate attempt to detach ourselves from the magical power of story-telling and pay attention to language, imagery, allusion, intertextuality, syntax and form.

It is, in her words, ‘a form of defamiliarisation we use in order to break through our habitual and casual reading practices’ (Teaching Literature, 98).

As readers, we are accustomed to reading for plot, or allowing the joy of the reading experience to take over and carry us along, without stopping to ask how and why a particular passage, sentence, or word achieves its effects.

Close reading, then, is about pausing, and looking at the precise techniques, dynamics, and content of the text. It’s not reading between the lines, but reading further and further into the lines and seeing the multiple meanings a turn of phrase, a description, or a word can unlock.

It is possible to close read an extended passage, but for essays it is often a good technique to do the close reading first and then to use very short extracts or even single words to demonstrate your insights. So instead of doing a close reading of twenty lines from A Midsummer Night’s Dream *in* your essay, you would do it independently, and then cite and explain three key phrases, relating them clearly to your developing argument. 

Close reading is also sometimes known as Practical Criticism, rooted in the techniques espoused by the Cambridge critic I. A. Richards.

He felt it was essential that students put aside their preconceptions and learn to appreciate the liveliness and multiplicity of language.

With that in mind, he gave students poems without any information about who wrote them or why they were written.

In the hands of subsequent critics, like William Empson, the technique became a way to offer virtuoso accounts of particular poems and literary works, with an emphasis on ambiguity and the multiplication of possible meanings.

In essence, close reading means taking a step back from the larger narrative and examining the constituent parts of a text.

Think of close reading as something that you do with a pencil and book in your hand. Mark up the pages; fill the margins.

“Annotate to appreciate; annotate to understand… It builds reading confidence; it helps us understand how literature is made—because it puts us there among the phrases.” Sometimes the Best Way to Read is to Mark up the Book - on the revelatory power of annotations

And then transcribe the poem, the passage, the quotation.

Accurate transcription of quotations is, for some, the first and last rule of close reading. If your passage isn’t transcribed meticulously, down to the last comma and (with poetry) spacing on the page, you can’t read it closely.

Careful transcription will also help you get inside a passage: you’ll get a feel for its rhythms, its twists and turns, its breathing. Look at the words.

Don’t take your eyes off the words. Work from the actual text in front of you, not from a sort of mental paraphrase of what the text says. As you do so, remember to think carefully about sound, not only when reading poetry but also when analysing prose.

Read the passage aloud, paying close attention to the rhythms of sentences. You might be surprised by what you hear: the eye can often glide over aspects of a text that the ear is keen to pick up. Remember, too, that it’s important not only to detect certain features but also to consider their effects. If you need to pause to catch your breath in the middle of a sentence, ask yourself why. How are form and content working together?

Close, not closed readings

Close reading has been criticised for being divorced from context and for pulling away from the historical and political engagements of the literary text.

Partly for that reason, it is important to think about the purpose behind your close reading – we are looking for close readings, not closed readings. Essentially, the close reading is the starting point for your essay, letting you find what is interesting, intricate, and unexpected about a literary text.

In the essay itself, you need to stitch that revelation about the complexities and ambiguities of particular terms, phrases and passages into a larger argument or context – don’t simply list everything you have found; craft it into an argument, and be prepared to downplay or leave out some of the elements you have spotted if they don’t relate to the larger picture.

For this reason, you might want to follow the “Rule of 2”. Your analysis of your quotation should be twice as long as the quotation itself. It's a nice reminder that we always need to go back and explain the textual evidence that's being cited.

Each piece of textual evidence needs and deserves detailed analysis if it's being used to support the argument's claims. It also helps to remind us to vary the lengths of quoted textual evidence so that an essay doesn't end up with only very brief quotations or long block quotations, but includes a mixture of different lengths that will best suit the claim being developed at any given point in the argument.

Some questions you may like to ask

• Who is speaking? Who is being spoken to? What is the reader assumed to know/not know? (University essays aren't written for an interested aunt or friend on a different course, but for an audience familiar with the themes and readings under discussion. Students are writing for an audience of engaged and interested peers. This means that the writer can assume that their reader knows the text and doesn't need extensive plot summary in the introduction or start of the essay. This frees up space for analysis and the laying out of each section's claims. It also helps to develop an authoritative voice: you are an expert speaking to other experts.)
• What is the point of the details included in the passage (eg if mundane things are mentioned, why is that; if there are elements of description that don’t seem to contribute to the plot what do they do instead)? 
• What generic clues are here (what kinds of writing are hinted at)? 
• Are there words or phrases which are ambiguous (could mean more than one thing)? If so, are we directed to privilege one reading over the other or do we keep both in play? Does one meaning open up an alternative story/history/narrative? What are the connotations of the words that are chosen? Do any of them open up new or different contexts? 
• Are there patterns which emerge in the language (the repetition of words or of certain kinds of words? Repeated phrases? Rhymes or half-rhymes? Metrical patterns?). What effects do they create? 
• Is there any movement in the passage you are reading? Are there any shapes or dominant metaphors? 
• What kind of rhythm does the passage have? What is its cadence?
• Is there anything that troubles you about the passage or that you’re not sure you fully understand? 
• Have you been to the dictionary (remember the full Oxford English Dictionary is available online through the library)?

For more specific advice, you might want to read our Ways of Reading series

• Ways of Reading a Novel
• Ways of Reading a Poem
• Ways of Reading a Film
• Ways of Reading a Play
• Ways of Reading a Translation

Extra Reading (and remember you can close read secondary as well as primary texts)

Thomas A. Foster, How to Read Literature Like a Professor: a Lively and Entertaining Guide to Reading Between the Lines (Harper, 2003). Elizabeth A. Howe, Close Reading: an Introduction to Literature (Prentice Hall, 2009). George Lakoff and Mark Turner, More than Cool Reason: a Field Guide to Poetic Metaphor (Chicago, 1989). Frank Lentricchia and Andrew DuBois (eds), Close Reading: the Reader (Duke, 2002). Christopher Ricks, The Force of Poetry (Oxford, 1995). Elaine Showalter, Teaching Literature (London: Wiley-Blackwell, 2002).

For more on Practical Criticism, with some useful online exercises, try the Virtual Classroom on Practical Criticism

There’s a neat example by Patricia Kain at Harvard College’s Writing Center .

Trev Broughton , Alexandra Kingston-Reese , Chloe Wigston-Smith , Hannah Roche , Helen Smith , and Matthew Townend April 2018

This article is available to download for free as a PDF for use as a personal learning tool or for use in the classroom as a teaching resource.

Department of English and Related Literature University of York , York , YO10 5DD , UK Tel: work +44 (0) 1904 323366 | [email protected]

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How to Write a Close Reading Essay

How to Write a Good Critique Essay

A close reading essay is an in-depth paper that carefully studies a short work or a section of a longer one. Rather than treat the larger themes of the work alone, a close reading essay goes into details and substantiates observations with examples from the work being examined. Analyze the techniques that writers employ to convey their ideas and feelings and then explain the results of your analysis. You need to not only make observations about parts of the work that stand out, but back them up with examples from the text.

Carefully read the work or section of the work being studied several times. Make notes as you read; don't wait until you have finished with the belief that you will remember everything. This part of the process is about gathering information. Note anything that stands out, symbols that recur or turns of phrase that don't make sense. Oftentimes the things you do not follow can lead to an important observation, so trust your instincts.

Develop an outline of your essay based on your notes, putting together observations that seem related. Delve into details that puzzle you, such as why something is described oddly, or an action by a character that may not make sense. Assemble the observations into groups, and note details to cover in the essay under each group. Draw out some of the persistent themes or significant characteristics and think about how they add to the overall mood of the work. To identify themes, ask yourself what lesson the author of the work likely wanted readers to know. Look for words or phrases that repeat since these often indicate an important idea that may be related to the theme or some other significant characteristic of the work.

Write your essay from the outline fleshing out details, presenting your observations, drawing conclusions about what you feel the author is saying and backing up those conclusions with examples from the text. The more you can substantiate your observations with the author's own words the more convincing the essay will be. If the conclusions you have drawn can't be reasonably supported by the text, modify them until you have adequate text support to back them up.

Go back and read the work you are examining again, in light of what you have written, to see if anything further stands out, or even if you still agree with what you have written. You may find some surprising new things, or want to modify your thoughts a bit. Proofread carefully before turning in your essay.

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• Harvard: How to do a Close Reading
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• The University of Warwick: Close Reading

Bill Brown has been a freelance writer for more than 14 years. Focusing on trade journals covering construction and home topics, his work appears in online and print publications. Brown holds a Master of Arts in liberal arts from St. John's University and is currently based in Houston.

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With a close-reading essay, you get to take a deep dive into a short passage from a larger text to study how the language, themes, and style create meaning. Writing one of these essays requires you to read the text slowly multiple times while paying attention to both what is being said and how the author is saying it. It’s a great way to hone your reading and analytical skills, and you’ll be surprised at how it can deepen your understanding of a particular book or text.

Reading and Analyzing the Passage

• Think of “close reading" as an opportunity to look underneath the surface. While you may understand a text’s main themes from a single read-through, any given text usually contains multiple complexities in language, character development, and hidden themes that only become clear through close observation.

Tip: Look up words that you aren’t familiar with. Sometimes you might figure out what something means by using context clues, but when in doubt, look it up.

• Alliteration
• Personification
• Onomatopoeia

• What themes are present in the text? Is the passage about, for example, love, or the triumph of good over evil, a character's coming-of-age, or a commentary on social issues?
• What imagery is being used? Which of the 5 senses does the passage involve?
• What is the author’s writing style? Is it descriptive, persuasive, or technical?
• What is the tone of the passage? What emotions do you feel as you read?
• What is the author trying to say? Are they successful?

Tip: Try reading the text out loud. Sometimes hearing the words rather than just seeing them can make a difference in how you understand the language.

• Word choice
• Punctuation

Drafting a Thesis and Outline

• Close-reading essays can get very detailed, and it often is helpful to come back to the “main thing.” This summary can help you focus your thesis in one direction so your essay doesn’t become too broad.

• For example, you could write something like, “The author uses repetition and word choice to create an emotional connection between the reader and the protagonist. This sample from the book exemplifies how the author uses vivid language and atypical syntax throughout the entire text to help put the reader inside of the protagonist’s mind.”

• For example, you may quote a sentence from the passage that uses atypical punctuation to emphasize how the author’s writing style creates a certain cadence.
• Or you may use the repetition of a color or word or theme to explain how the author continually reinforces the overall message.

• There are a lot of different ways to outline an essay. You could use a bullet-pointed list to organize the things you want to write about, or you could plan out, paragraph by paragraph, what you want to say.
• Many people cannot write fast because they do not spend enough time planning what they want to state.
• When you take a couple of extra minutes to plan an essay, it's a lot easier to write because you know how the points should flow together.
• It is also obvious to a reader whether you plan and write the essay or make it up as you write it.

Writing the Essay

• The last thing you want is to write an essay and later on realize that you were required to include an outside source or that your paper was 5 pages longer than it needed to be.

• Some people find it easier to write their introduction once the body of the essay is done.
• The introduction can be a good place to give historical, social, or geographical context.

• Make sure to reference why the proof you’re giving is relevant. It should directly tie back to the main theme of your essay.
• Evidence can be a direct quote from the passage, a summary of that information, or a reference from a secondary source.

• The conclusion isn’t the place to add in new evidence or arguments. Those should all be in the actual body of the essay.

• An impactful close-reading essay will weave together examples, interpretation, and commentary.

• Try reading your essay out loud. You may notice awkward phrases, incorrect grammar, or stilted language that you didn’t before.

Expert Q&A

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Literary Analysis Essay

Literary Analysis Essay - Step by Step Guide

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Published on: Aug 16, 2020

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Literature is an art that can inspire, challenge, and transform us. But how do we analyze literature in a way that truly captures its essence? 

That's where a literary analysis essay comes in. 

Writing a literary analysis essay allows you to delve into the themes, characters, and symbols of a literary work. It's a chance to engage with literature on a deeper level and to discover new insights. 

In this comprehensive guide, we will take you through the process of writing a literary analysis essay, step by step. Plus, you’ll get to read some great examples to help you out!

So let’s dive in!

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What is a Literary Analysis Essay?

Literary analysis is a process of examining a literary work in detail to uncover its meaning and significance. 

It involves breaking down the various elements of a work, such as plot, character, setting, and theme. And then analyzing how they work together to create a specific effect on the reader.

In other words, literary analysis is an exercise in interpretation. The reader of a work asks questions about what the author means to say, how they are saying it, and why. 

A literary analysis essay is an essay where you explore such questions in depth and offer your own insights.

What is the Purpose of a Literary Analysis Essay?

In general, the purpose of a literary analysis essay is as follows: 

• To gain a greater understanding and appreciation of the work.
• To be able to think critically and analytically about a text. 

Content of a Literary Analysis 

A literary analysis essay delves deep into the various aspects of a literary work to examine its meaning, symbolism, themes, and more. Here are the key elements to include in your literary analysis essay:

Plot Analysis 

Plot refers to the sequence of events that make up the storyline of a literary work. It encompasses the main events, conflicts, and resolutions that drive the narrative forward. 

Elements of Plot Analysis 

The elements of a plot typically include:

• Exposition: The introduction of the story that establishes the setting, characters, and initial circumstances.
• Rising action: A set of events or actions that sets the main conflict into motion, often occurring early in the story.
• Conflict: The series of events that build tension and develop the conflict, leading to the story's climax.
• Climax: The turning point of the story, where the conflict reaches its peak and the outcome hangs in the balance.
• Falling Action: The events that occur after the climax, leading towards the resolution of the conflict.
• Resolution: The point in the story where the conflict is resolved, providing closure to the narrative.

Character Analysis 

Character analysis involves studying the role, development, and motivations of the characters in a literary work. It explores how characters contribute to the overall narrative and themes of the story.

Elements of Character Analysis 

• Identification of major and minor characters.
• Examination of their traits, behaviors, and relationships.
• Analysis of character development and changes throughout the story.
• Evaluation of the character's role in advancing the plot or conveying themes.

Symbolism and Imagery Analysis 

Symbolism and imagery analysis focuses on the use of symbols, objects, or images in a work. It analyzes and explores the use of literary devices to convey deeper meanings and evoke emotions. 

Elements of Symbolism and Imagery Analysis 

• Identification of key symbols or recurring motifs.
• Interpretation of their symbolic significance.
• Analysis of how imagery is used to create vivid mental pictures and enhance the reader's understanding and emotional experience.

Theme Analysis 

Analyzing the theme involves exploring the central ideas or messages conveyed in a literary work. It examines the underlying concepts, or messages that the author wants to convey through the story.

Elements of Theme Analysis 

• Identification of the main themes or central ideas explored in the text.
• Analysis of how the themes are developed and reinforced throughout the story.
• Exploration of the author's perspective and the intended message behind the themes.

Setting Analysis 

The Setting of a story includes the time, place, and social context in which the story takes place. Analyzing the setting involves how the setting influences the characters, plot, and overall atmosphere of the work.

Elements of Setting Analysis 

• Description and analysis of the physical, cultural, and historical aspects of the setting.
• Examination of how the setting contributes to the mood, atmosphere, and themes of the work.
• Evaluation of how the setting shapes the characters' actions and motivations.

Structure and Style Analysis 

Structure and style analysis involves studying the organization, narrative techniques, and literary devices employed by the author. It explores how the structure and style contribute to the overall impact and effectiveness of the work.

Elements of Structure and Style Analysis 

• Analysis of the narrative structure, such as the use of flashbacks, nonlinear timelines, or multiple perspectives.
• Examination of the author's writing style, including the use of language, tone, and figurative language.
• Evaluation of literary devices, such as foreshadowing, irony, or allusion, and their impact on the reader's interpretation.

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How to Write a Literary Analysis Essay?  

Writing a great literary analysis piece requires you to follow certain steps. Here's what you need to do to write a literary essay:

Preparing for Your Essay 

The pre-writing process for writing a literary analysis essay includes the following:

• Choosing a literary work to analyze
• Reading and analyzing the work
• Taking notes and organizing your thoughts
• Creating an outline for your essay

Choosing a Work to Analyze 

As a student, you would most probably be assigned a literary piece to analyze. It could be a short story, a novel, or a poem.  However, sometimes you get to choose it yourself.

In such a case, you should choose a work that you find interesting and engaging. This will make it easier to stay motivated as you analyze the work and write your essay.

Moreover, you should choose a work that has some depth and complexity. This will give you plenty of material to analyze and discuss in your essay. Finally, make sure that your choice fits within the scope of the assignment and meets the expectations of your instructor.

Reading and Analyzing 

Once you've chosen a literary work, it's time to read the work with careful attention. There are several key elements to consider when reading and analyzing a literary work:

• Plot - The sequence of events that make up the story. Analyzing the plot involves examining the structure of the story, including its exposition, rising action, climax, falling action, and resolution.
• Characters - The people or entities that populate the story. Analyzing characters involves examining their motivations, personalities, relationships, and development over the course of the story.

Want to learn more about character analysis? Head to our blog about how to conduct character analysis and learn easy steps with examples.

• Setting - The time, place, and environment in which the story takes place. Analyzing the setting involves examining how the atmosphere contributes to the story's overall meaning.
• Theme - The underlying message or meaning of the story. Analyzing themes involves examining the work's central ideas and how they are expressed through the various elements of the story.

Moreover, it's important to consider the following questions while analyzing:

• What is the central theme or main point the author is trying to make?
• What literary devices and techniques has the author used?
• Why did the author choose to write this particular work?
• What themes and ideas are present in the work?

These questions will help you dive deeper into the work you are writing about.

Take Notes and Gather Material 

As you read and analyze the literary work, it's important to take notes so you don't forget important details and ideas. This also helps you identify patterns and connections between different elements of the piece.

One effective way to take notes is to list important elements of the work, such as characters, setting, and theme. You can also use sticky notes, highlighters, or annotations to mark important passages and write down your ideas.

Writing Your Literary Analysis Essay 

Once you have read a piece of literature and taken notes, you have all the material you need to write an essay. Follow the simple steps below to write an effective literary analysis essay.

Create an Outline for Your Essay 

Firstly, creating an outline is necessary. This will help you to organize your thoughts and ideas and ensure that your essay flows logically and coherently.

This is what your literary essay outline would look like: 

Writing the Introduction 

Writing your essay introduction involves the three following parts:

• Begin the introductory paragraph with an engaging hook statement that captures the readers' attention. An effective hook statement can take many different forms, such as a provocative quote, an intriguing question, or a surprising fact. 

Make sure that your hook statement is relevant to the literary work you are writing about. Here are a few examples of effective hooks:

• Afterward, present the necessary background information and context about the literary work. For instance, 
• Talk about the author of the work or when and where it was written. 
• Give an overview of the work or why it is significant. 
• Provide readers with sufficient context so they can know what the work is generally about.
• Finally, end the introduction with a clear thesis statement . Your thesis statement should be a concise statement that clearly states the argument you will be making in your essay. It should be specific and debatable, and it should provide a roadmap for the rest of your essay.

For example, a thesis statement for an essay on "Hamlet" might be: 

Watch this video to learn more about writing an introduction for a literary analysis essay:

Writing the Body 

Here are the steps to follow when writing a body paragraph for a literary analysis essay:

• Start with a topic sentence: 

The topic sentence should introduce the main point or argument you will be making in the paragraph. It should be clear and concise and should indicate what the paragraph is about.

• Provide evidence: 

After you have introduced your main point, provide evidence from the text to support your analysis. This could include quotes, paraphrases, or summaries of the text.

• Explain and discuss the evidence:

Explain how the evidence supports your main point or argument or how it connects back to your thesis statement.

• Conclude the paragraph: 

End the paragraph by relating your main point to the thesis and discussing its significance. You should also use transitions to connect the paragraph to your next point or argument.

Writing the Conclusion 

The conclusion of a literary analysis essay provides closure to your analysis and reinforces your thesis statement. Here's what a conclusion includes:

• Restate your thesis statement: 

Start by restating your thesis statement in a slightly different way than in your introduction. This will remind the reader of the argument you made and the evidence you provided to support it.

• Summarize your main points: 

Briefly summarize the main points you made in your essay's body paragraphs. This will help tie everything together and provide closure to your analysis.

• Personal reflections:

The conclusion is the best place to provide some personal reflections on the literary piece. You can also explain connections between your analysis and the larger context. This could include connections to other literary works, your personal life, historical events, or contemporary issues.

• End with a strong statement: 

End your conclusion with a strong statement that leaves a lasting impression on the reader. This could be a thought-provoking question, a call to action, or a final insight into the significance of your analysis.

Finalizing your Essay

You've completed the first draft of your literary analysis essay. Congratulations!

However, it's not over just yet. You need some time to polish and improve the essay before it can be submitted. Here's what you need to do:

Proofread and Revise your Essay 

After completing your draft, you should proofread your essay. You should look out for the following aspects:

• Check for clarity: 

Make sure that your ideas are expressed clearly and logically. You should also take a look at your structure and organization. Rearrange your arguments if necessary to make them clearer.

• Check for grammar and spelling errors: 

Use spelling and grammar check tools online to identify and correct any basic errors in your essay. 

• Verify factual information:

You must have included information about the work or from within the work in your essay. Recheck and verify that it is correct and verifiable. 

• Check your formatting: 

Make sure that your essay is properly formatted according to the guidelines provided by your instructor. This includes requirements for font size, margins, spacing, and citation style.

Helpful Tips for Revising a Literary Essay 

Here are some tips below that can help you proofread and revise your essay better:

• Read your essay out loud:

Reading your essay out loud makes it easier to identify awkward phrasing, repetitive language, and other issues.

• Take a break: 

It can be helpful to step away from your essay for a little while before starting the editing process. This can help you approach your essay with fresh eyes and a clearer perspective.

• Be concise:

Remove any unnecessary words or phrases that do not add to your argument. This can help to make your essay more focused and effective.

• Let someone else proofread and get feedback: 

You could ask a friend or a teacher to read your essay and provide feedback. This way, you can get some valuable insights on what you could include or catch mistakes that you might have missed.

Literary Analysis Essay Examples 

Reading a few good examples helps to understand literary analysis essays better. So check out these examples below and read them to see what a well-written essay looks like. 

How to Write a Literary Analysis Essay

Literary Analysis Essay Example

Sample Literary Analysis Essay

Lord of the Rings Literary Analysis

The Great Gatsby Literary Analysis

Literary Analysis Example for 8th Grade

Literary Analysis Essay Topics 

Need a topic for your literary analysis essay? You can pick any aspect of any work of literature you like. Here are some example topics that will help you get inspired:

• The use of symbolism in "The Great Gatsby" by F. Scott Fitzgerald.
• The theme of isolation in "The Catcher in the Rye" by J.D. Salinger.
• The portrayal of social class in "Pride and Prejudice" by Jane Austen.
• The use of magical realism in "One Hundred Years of Solitude" by Gabriel Garcia Marquez.
• The role of women in "The Handmaid's Tale" by Margaret Atwood.
• The use of foreshadowing in "Lord of the Flies" by William Golding.
• The portrayal of race and identity in "Invisible Man" by Ralph Ellison.
• The use of imagery in "The Road" by Cormac McCarthy.
• The theme of forgiveness in "The Kite Runner" by Khaled Hosseini.
• The use of allegory in "Animal Farm" by George Orwell.

To conclude,

Writing a literary analysis essay can be a rewarding experience for any student or writer, But it's not easy. However, by following the steps you learned in this guide, you can successfully produce a well-written literary analysis essay. 

Also, you have got some examples of essays to read and topic ideas to get creative inspiration. With these resources, you have all you need to craft an engaging piece. So don't hesitate to start writing your essay and come back to this blog whenever you need.

The deadline is approaching, but you don't have time to write your essay? No worries! Our analytical essay writing service is here to help you out!

At CollegeEssay.org, we have a team of professional and experienced literature writers who can help you craft a compelling literary essay. Our affordable and reliable essay writing website focuses on providing high-quality essays and deliver them timely.

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Frequently Asked Questions

What are the 4 components of literary analysis.

The four main components of literary analysis are: 

• Conflict 
• Characters 
• Setting 

What is the fundamental characteristic of a literary analysis essay?

Interpretive is the fundamental characteristic of a literary analysis essay. 

Cathy A. (Literature, Marketing)

For more than five years now, Cathy has been one of our most hardworking authors on the platform. With a Masters degree in mass communication, she knows the ins and outs of professional writing. Clients often leave her glowing reviews for being an amazing writer who takes her work very seriously.

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What Is A DBQ Essay? Tips + Examples

By Eric Eng

So, you’re staring at an essay prompt asking for a DBQ essay , and you’re wondering, “ What is a DBQ essay? ” You’re not alone! A DBQ, or Document-Based Question essay, is a type of writing you’ll commonly come across in history classes, especially AP courses. The good news? It’s not as scary as it sounds once you get the hang of it. The key to mastering a DBQ is all about analyzing provided documents and using them to craft a strong, evidence-based argument.

In this guide, we’ll walk you through everything you need to know about a DBQ. We’ll cover how to write one, what a DBQ example looks like, how long it should be, and more. 

What Does DBQ Stand For?

How to write a dbq essay, example dbq essay and analysis, frequently asked questions.

DBQ stands for Document-Based Question. This type of essay is designed to test your ability to analyze historical documents and use them to form an argument.

You’ll most often encounter DBQs in Advanced Placement (AP) history courses, like AP World History, AP U.S. History, or AP European History . They help test your knowledge of historical content and your skills in critical thinking and writing.

Writing a DBQ essay might feel overwhelming at first, but once you have a clear strategy, it’s pretty manageable. Here’s a step-by-step breakdown to help you out:

1. Understand the prompt.

First things first, read the prompt carefully. You need to know what you’re being asked before you dive into the documents. The prompt will often ask you to take a position or explain a historical issue using the documents provided. 

2. Analyze the documents.

Next, spend some time analyzing the documents given to you. These could be anything from primary sources like letters, speeches, or photos to secondary sources like scholarly articles. Take notes on what each document says and how it connects to the essay prompt.

3. Write a strong thesis statement.

Your thesis is the core of your DBQ essay . After analyzing the documents, decide on the main argument you’re going to make. A strong thesis directly answers the question in the prompt and gives a roadmap for the rest of your essay.

Here’s an example of a weak thesis statement : “The American Revolution happened for many reasons.”  

This thesis is vague and doesn’t provide any clear direction for the essay. It fails to identify specific causes or how those causes will be addressed.

Now, look at a strong thesis statement : “The American Revolution was sparked by the colonists’ growing resentment of British policies, specifically due to unfair taxation, trade restrictions, and a lack of political representation.”  

This thesis directly answers the prompt , identifies three specific causes, and gives the reader a clear understanding of what the essay will cover. It provides an outline for the argument, making the essay much more focused and organized.

4. Organize your essay.

Plan your essay by organizing the documents into categories that support your thesis. Each body paragraph should focus on one key point and use the documents as evidence to back it up. You can also bring in your knowledge of the historical period to add more context to your argument.

5. Write your DBQ.

Now that you’ve got your plan, it’s time to start writing. In your introduction, introduce the topic, state your thesis, and give a brief preview of the points you’ll be making. Each body paragraph should include topic sentences, evidence from the documents, and analysis of how the evidence supports your thesis. Finally, wrap it all up with a conclusion (yes, you need a conclusion in your DBQ essay).

6. Proofread and revise.

Before turning in your DBQ, take a few minutes to reread your essay and check for any spelling or grammatical errors. Make sure your argument flows smoothly and that you’ve clearly supported your thesis with the documents.

How long should a DBQ essay be?

Good question! While there’s no hard-and-fast rule, most DBQ essays are typically around 500-700 words long, depending on the complexity of the prompt and the number of documents provided. In general, aim for about five paragraphs: an introduction, three body paragraphs (or more if needed), and a conclusion.

It’s important to stay concise while making sure you fully explain your points and back them up with evidence. Don’t feel pressured to write a super long DBQ essay. You should focus on quality over quantity. As long as you are able to answer the prompt, use the documents effectively, and build a strong argument, you’re golden.

Do you need a conclusion in a DBQ essay?

Yes, you absolutely need a conclusion in a DBQ! The conclusion is your chance to wrap up your argument and leave a lasting impression on your reader (or your grader). In your conclusion, restate your thesis in a new way and briefly summarize the key points you made in your essay.

But don’t just repeat everything word-for-word. Instead, tie everything together by showing how the documents you analyzed and the arguments you made paint a clear picture of the historical issue you were asked to address. You can also use the conclusion to reflect on the broader significance of the topic or its implications for the future.

Let’s look at a quick DBQ example to bring everything into perspective. Suppose you’re given the prompt: “ Analyze the causes of the American Revolution. ” You would be given several documents, like excerpts from colonial leaders, British officials, or other relevant texts. Here’s a basic outline of what an example DBQ essay on this topic might look like:

Let’s break down why each part of this DBQ example works well for the prompt: “Analyze the causes of the American Revolution.”

Thesis statement

The American Revolution was caused by growing tensions between Britain and the American colonies, fueled by unfair taxation, restrictions on colonial trade, and a lack of representation in British Parliament.

Why it’s good:   

• Provides a clear argument. The thesis directly answers the prompt by identifying the main causes of the American Revolution: taxation, trade restrictions, and lack of representation.
• Specific. Rather than vaguely stating “tensions,” the thesis explains exactly what tensions the essay will focus on, making it easier to build an argument in the body paragraphs.
• Gives a preview of your structure. It gives a roadmap for the essay, which helps guide the reader. The three causes listed here will likely correspond to the main points in the body paragraphs to create a well-organized essay.

Body paragraph 1

Topic sentence: The imposition of taxes like the Stamp Act and Tea Act ignited colonial anger toward Britain.  

Why it’s good:  

• Directly connects to your thesis statement. The topic sentence ties back to one of the key causes identified in the thesis: unfair taxation.
• Gives a specific example. Naming specific acts, like the Stamp Act and Tea Act, makes the argument more concrete and grounded in historical facts, which is essential for a DBQ.

Evidence from document: A letter from a colonial leader complaining about taxation without representation.  

• Relevant. The evidence is directly related to the topic sentence and demonstrates the colonists’ anger over taxation without representation.
• Uses a primary source. Using a letter from a colonial leader shows the perspective of someone directly affected by British policies. This strengthens your argument.

Analysis: This document shows that unfair taxation policies led many colonists to question British authority and demand more autonomy.   

• Interprets the document. The analysis doesn’t just summarize the document but explains how it supports the argument, linking unfair taxation to a desire for autonomy.
• Connects to the prompt. It ties the evidence back to the broader issue of growing tensions, showing how taxation contributed to the Revolutionary cause.

Body paragraph 2

Topic sentence: British trade restrictions and the enforcement of mercantilist policies limited colonial economic freedom.  

• Addresses another cause. The topic sentence moves the essay forward by tackling the second key cause from the thesis: trade restrictions.
• Gives an economic focus. By focusing on trade and economics, it expands the scope of the essay and provides a different angle than taxation, making the argument more well-rounded.

Evidence from document: A colonial newspaper article criticizing the Navigation Acts.  

• Supports the topic sentence. The newspaper article directly addresses trade restrictions and proves that this was a significant issue for the colonies.
• Provides a broader perspective. A newspaper represents public opinion at the time, showing that dissatisfaction wasn’t limited to political leaders but was also widespread among colonists.

Analysis: This source highlights how economic policies imposed by Britain were seen as a threat to the prosperity and independence of the colonies.  

• Connects economic issues to rebellion. The analysis clearly explains how the economic frustrations fueled a desire for independence. This aligns with the overall argument of growing colonial dissatisfaction.
• Provides insight. It moves beyond just stating that trade restrictions were unpopular, adding depth by discussing the threat to colonial prosperity and independence.

Body paragraph 3

Topic sentence: The lack of colonial representation in British Parliament increased political tensions.  

• Addresses the final cause. The third key cause of the thesis, political representation, is introduced here. This makes sure all points of your thesis are covered.
• Broadens your argument. Shifting the focus to political issues adds variety to the essay and widens the argument beyond just economic concerns.

Evidence from document: A petition from the Continental Congress requesting greater representation.  

• Solid evidence. The Continental Congress was a key player in the Revolution. This document provides strong, relevant evidence to support the argument about lack of representation.
• Historical significance. The petition is an official, important document. This shows the seriousness of the colonial demands and adds weight to the argument.

Analysis: The frustration over not having a voice in British decision-making drove many colonists to consider rebellion as their only option.  

• Explains the consequences. The analysis doesn’t just restate the evidence but explains how the lack of representation pushed colonists toward rebellion. This ties directly back to your thesis.
• Focuses on the prompt. It keeps the focus on “growing tensions,” which directly answers the question and makes sure that your essay stays on track.

The American Revolution was not an overnight event but the result of a series of escalating tensions between Britain and its American colonies. From unfair taxation to restrictive trade policies and the colonists’ growing frustration with their lack of representation in Parliament, each issue chipped away at the loyalty once felt toward the Crown. The documents illustrate how these grievances led colonists to question British authority, ultimately pushing them toward the pursuit of independence. By examining these documents, it’s clear that the revolution was born from a desire for autonomy—both politically and economically—that could no longer be ignored. The American Revolution was as much a response to systemic oppression as it was a fight for a new identity, one built on the principles of freedom and self-governance.

• Reinforces the argument. The conclusion ties everything together and reminds the reader that the documents are meant to support the broader argument about the causes of the Revolution.
• Encourages deeper thinking. It emphasizes the importance of analyzing the documents, not just summarizing them. This is a crucial skill for DBQ essays .
• Broadens the perspective . It ties the American Revolution to broader themes of freedom and self-governance. This gives the essay a sense of closure and elevates the significance of the analysis.
• Strong final sentence : The last sentence leaves a lasting impression, connecting the causes of the Revolution to larger ideals. This resonates well with your readers and makes the argument feel more complete.

1. How do I write a thesis for a DBQ essay?

Your thesis should directly answer the prompt by clearly stating your argument or the main point of your essay. It should be specific and outline the key reasons or factors that you’ll explore in your body paragraphs. Make sure your thesis addresses all parts of the prompt and hints at the structure of your essay.

2. How many documents should I use in my DBQ essay?

Generally, you should aim to use most, if not all, of the provided documents to support your argument. However, it’s essential to go beyond simply quoting or summarizing the document. You should analyze them and explain how they connect to your thesis. Depending on the exam or assignment, you may need to use a minimum number of documents, so make sure to always check the guidelines provided by your professor.

3. Do I need to include outside knowledge in a DBQ essay?

Yes, in addition to the documents, you should incorporate your own knowledge of the historical context. Outside knowledge helps strengthen your argument by showing you understand the broader events, causes, or effects related to the prompt. It’s important to blend your analysis of the documents with historical facts you already know.

4. Do I need a conclusion in a DBQ essay?

Absolutely! A conclusion is essential to wrap up your essay and restate your argument. In your conclusion, summarize the main points you’ve made, and show how the documents and your analysis answer the prompt. A strong conclusion reinforces your thesis and provides closure for your reader.

• The DBQ essay is built around analyzing historical documents to answer a specific prompt. You must use these documents as evidence to support your thesis while also incorporating your own knowledge of the topic.
• Having a strong thesis is essential. Your thesis should directly address the prompt and provide a clear, specific argument. It should outline the main points of your essay, guiding your analysis in the body paragraphs.
• You should be able to balance document evidence with outside knowledge. While the documents are important, you should also use outside historical knowledge to strengthen your argument, adding depth and context to the analysis.
• A well-written conclusion restates your thesis, summarizes your key points, and shows how your analysis of the documents fully addresses the essay prompt.
• Should you need help in writing a DBQ essay for one of your subjects, you might want to consider talking to a private consultant for guidance.

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