is essay a genre

The Essay: History and Definition

Attempts at Defining Slippery Literary Form

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

"One damned thing after another" is how Aldous Huxley described the essay: "a literary device for saying almost everything about almost anything."

As definitions go, Huxley's is no more or less exact than Francis Bacon's "dispersed meditations," Samuel Johnson's "loose sally of the mind" or Edward Hoagland's "greased pig."

Since Montaigne adopted the term "essay" in the 16th century to describe his "attempts" at self-portrayal in prose , this slippery form has resisted any sort of precise, universal definition. But that won't an attempt to define the term in this brief article.

In the broadest sense, the term "essay" can refer to just about any short piece of nonfiction  -- an editorial, feature story, critical study, even an excerpt from a book. However, literary definitions of a genre are usually a bit fussier.

One way to start is to draw a distinction between articles , which are read primarily for the information they contain, and essays, in which the pleasure of reading takes precedence over the information in the text . Although handy, this loose division points chiefly to kinds of reading rather than to kinds of texts. So here are some other ways that the essay might be defined.

Standard definitions often stress the loose structure or apparent shapelessness of the essay. Johnson, for example, called the essay "an irregular, indigested piece, not a regular and orderly performance."

True, the writings of several well-known essayists ( William Hazlitt and Ralph Waldo Emerson , for instance, after the fashion of Montaigne) can be recognized by the casual nature of their explorations -- or "ramblings." But that's not to say that anything goes. Each of these essayists follows certain organizing principles of his own.

Oddly enough, critics haven't paid much attention to the principles of design actually employed by successful essayists. These principles are rarely formal patterns of organization , that is, the "modes of exposition" found in many composition textbooks. Instead, they might be described as patterns of thought -- progressions of a mind working out an idea.

Unfortunately, the customary divisions of the essay into opposing types --  formal and informal, impersonal and familiar  -- are also troublesome. Consider this suspiciously neat dividing line drawn by Michele Richman:

Post-Montaigne, the essay split into two distinct modalities: One remained informal, personal, intimate, relaxed, conversational and often humorous; the other, dogmatic, impersonal, systematic and expository .

The terms used here to qualify the term "essay" are convenient as a kind of critical shorthand, but they're imprecise at best and potentially contradictory. Informal can describe either the shape or the tone of the work -- or both. Personal refers to the stance of the essayist, conversational to the language of the piece, and expository to its content and aim. When the writings of particular essayists are studied carefully, Richman's "distinct modalities" grow increasingly vague.

But as fuzzy as these terms might be, the qualities of shape and personality, form and voice, are clearly integral to an understanding of the essay as an artful literary kind. 

Many of the terms used to characterize the essay -- personal, familiar, intimate, subjective, friendly, conversational -- represent efforts to identify the genre's most powerful organizing force: the rhetorical voice or projected character (or persona ) of the essayist.

In his study of Charles Lamb , Fred Randel observes that the "principal declared allegiance" of the essay is to "the experience of the essayistic voice." Similarly, British author Virginia Woolf has described this textual quality of personality or voice as "the essayist's most proper but most dangerous and delicate tool."

Similarly, at the beginning of "Walden, "  Henry David Thoreau reminds the reader that "it is ... always the first person that is speaking." Whether expressed directly or not, there's always an "I" in the essay -- a voice shaping the text and fashioning a role for the reader.

Fictional Qualities

The terms "voice" and "persona" are often used interchangeably to suggest the rhetorical nature of the essayist himself on the page. At times an author may consciously strike a pose or play a role. He can, as E.B. White confirms in his preface to "The Essays," "be any sort of person, according to his mood or his subject matter." 

In "What I Think, What I Am," essayist Edward Hoagland points out that "the artful 'I' of an essay can be as chameleon as any narrator in fiction." Similar considerations of voice and persona lead Carl H. Klaus to conclude that the essay is "profoundly fictive":

It seems to convey the sense of human presence that is indisputably related to its author's deepest sense of self, but that is also a complex illusion of that self -- an enactment of it as if it were both in the process of thought and in the process of sharing the outcome of that thought with others.

But to acknowledge the fictional qualities of the essay isn't to deny its special status as nonfiction.

Reader's Role

A basic aspect of the relationship between a writer (or a writer's persona) and a reader (the implied audience ) is the presumption that what the essayist says is literally true. The difference between a short story, say, and an autobiographical essay  lies less in the narrative structure or the nature of the material than in the narrator's implied contract with the reader about the kind of truth being offered.

Under the terms of this contract, the essayist presents experience as it actually occurred -- as it occurred, that is, in the version by the essayist. The narrator of an essay, the editor George Dillon says, "attempts to convince the reader that its model of experience of the world is valid." 

In other words, the reader of an essay is called on to join in the making of meaning. And it's up to the reader to decide whether to play along. Viewed in this way, the drama of an essay might lie in the conflict between the conceptions of self and world that the reader brings to a text and the conceptions that the essayist tries to arouse.

At Last, a Definition—of Sorts

With these thoughts in mind, the essay might be defined as a short work of nonfiction, often artfully disordered and highly polished, in which an authorial voice invites an implied reader to accept as authentic a certain textual mode of experience.

Sure. But it's still a greased pig.

Sometimes the best way to learn exactly what an essay is -- is to read some great ones. You'll find more than 300 of them in this collection of  Classic British and American Essays and Speeches .

• What Are the Different Types and Characteristics of Essays?
• Rhetorical Analysis Definition and Examples
• What Is a Personal Essay (Personal Statement)?
• The Writer's Voice in Literature and Rhetoric
• Point of View in Grammar and Composition
• What Is Expository Writing?
• The Difference Between an Article and an Essay
• What Is Tone In Writing?
• How to Write a Narrative Essay or Speech
• What is a Familiar Essay in Composition?
• Writers on Writing: The Art of Paragraphing
• Topical Organization Essay
• What Does "Persona" Mean?
• Mood in Composition and Literature
• Compose a Narrative Essay or Personal Statement

Definition of Essay

Essay is derived from the French word essayer , which means “ to attempt ,” or “ to try .” An essay is a short form of literary composition based on a single subject matter, and often gives the personal opinion of the author. A famous English essayist, Aldous Huxley defines essays as, “a literary device for saying almost everything about almost anything. ” The Oxford Dictionary describes it as “ a short piece of writing on a particular subject. ” In simple words, we can define it as a scholarly work in writing that provides the author’s personal argument .

• Types of Essay

There are two forms of essay: literary and non-literary. Literary essays are of four types:

• Expository Essay – In an expository essay , the writer gives an explanation of an idea, theme , or issue to the audience by giving his personal opinions. This essay is presented through examples, definitions, comparisons, and contrast .
• Descriptive Essay – As it sounds, this type of essay gives a description about a particular topic, or describes the traits and characteristics of something or a person in detail. It allows artistic freedom, and creates images in the minds of readers through the use of the five senses.
• Narrative Essay – Narrative essay is non- fiction , but describes a story with sensory descriptions. The writer not only tells a story, but also makes a point by giving reasons.
• Persuasive Essay – In this type of essay, the writer tries to convince his readers to adopt his position or point of view on an issue, after he provides them solid reasoning in this connection. It requires a lot of research to claim and defend an idea. It is also called an argumentative essay .

Non-literary essays could also be of the same types but they could be written in any format.

Examples of Essay in Literature

Example #1: the sacred grove of oshogbo (by jeffrey tayler).

“As I passed through the gates I heard a squeaky voice . A diminutive middle-aged man came out from behind the trees — the caretaker. He worked a toothbrush-sized stick around in his mouth, digging into the crevices between algae’d stubs of teeth. He was barefoot; he wore a blue batik shirt known as a buba, baggy purple trousers, and an embroidered skullcap. I asked him if he would show me around the shrine. Motioning me to follow, he spat out the results of his stick work and set off down the trail.”

This is an example of a descriptive essay , as the author has used descriptive language to paint a dramatic picture for his readers of an encounter with a stranger.

Example #2: Of Love (By Francis Bacon)

“It is impossible to love, and be wise … Love is a child of folly. … Love is ever rewarded either with the reciprocal, or with an inward and secret contempt. You may observe that amongst all the great and worthy persons…there is not one that hath been transported to the mad degree of love: which shows that great spirits and great business do keep out this weak passion…That he had preferred Helena, quitted the gifts of Juno and Pallas. For whosoever esteemeth too much of amorous affection quitted both riches and wisdom.”

In this excerpt, Bacon attempts to persuade readers that people who want to be successful in this world must never fall in love. By giving an example of famous people like Paris, who chose Helen as his beloved but lost his wealth and wisdom, the author attempts to convince the audience that they can lose their mental balance by falling in love.

Example #3: The Autobiography of a Kettle (By John Russell)

“ I am afraid I do not attract attention, and yet there is not a single home in which I could done without. I am only a small, black kettle but I have much to interest me, for something new happens to me every day. The kitchen is not always a cheerful place in which to live, but still I find plenty of excitement there, and I am quite happy and contented with my lot …”

In this example, the author is telling an autobiography of a kettle, and describes the whole story in chronological order. The author has described the kettle as a human being, and allows readers to feel, as he has felt.

Function of Essay

The function of an essay depends upon the subject matter, whether the writer wants to inform, persuade, explain, or entertain. In fact, the essay increases the analytical and intellectual abilities of the writer as well as readers. It evaluates and tests the writing skills of a writer, and organizes his or her thinking to respond personally or critically to an issue. Through an essay, a writer presents his argument in a more sophisticated manner. In addition, it encourages students to develop concepts and skills, such as analysis, comparison and contrast, clarity, exposition , conciseness, and persuasion .

Related posts:

• Elements of an Essay
• Narrative Essay
• Definition Essay
• Descriptive Essay
• Analytical Essay
• Argumentative Essay
• Cause and Effect Essay
• Critical Essay
• Expository Essay
• Persuasive Essay
• Process Essay
• Explicatory Essay
• An Essay on Man: Epistle I
• Comparison and Contrast Essay

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Is Essay a Genre of Literature: Its Structure and Examples

Is Essay a Genre

Essays are one of the many different kinds of texts that students are required to write in their academic journey. Along with other texts such as laboratory writings, research proposals, book reviews, case studies, and others, they can be referred to as genres.

These genres can be easily constructed from a small range into different types of texts. For example, essay questions can be answered in different ways using different answer formats.

Is Essay a Genre?

An essay is a genre of writing because essays are a type of academic writing classification. They are a flexible small genre of literature and part of human communication that seeks to express one’s views, argument, or thesis by backing it up with personal or external sources.

They serve purposes such as introducing topics to wide audiences, applying for college and university admissions, and being part of future novels.

Essays have also been selected as common elements of the education process in a lot of countries. They are a very good way of testing the ability and diligence of students.

Also, they are divided into several types with common ones including argumentative, descriptive, expository, and comparative essays.

Reasons Making Essay a Genre in Writing

Essays are genres in writing because they are opinions in which reflections, critiques, personal impressions, and ideas are exposed to evaluate different themes .

These themes are also deeply analyzed and interpreted implying that essays are genres that are rehearsed. Questions on different subjects are problematized based on the writer’s general opinions and conclusions made.

Additionally, essays are a genre because they present attempts at the critical decision and personal point of view in a natural flow of ideas that is required in the academic world.

Thoughts Why Essays Are Not Really a Genre

Essays cannot be considered as writing genres when they are written with no purpose or audience. Almost every writing in the academic world is regarded as an essay .

Even pointless writings that were just written without any aim are considered essays. However, these essays cannot be regarded as genres. An essay that will not be read by an audience cannot be a genre of academic writing.

This means that any form of writing that is not marked by instructors or used for academic purposes cannot be classified as a genre of writing.

Main Genres in Academic Writing

1. research paper.

A research paper is the end product of the culmination of critical thinking, research, organization, composition, and source evaluation.

You can explain it as a child growing after as a writer interprets, evaluates, and explores specific sources. It is a genre of writing that depends on the support and interaction of primary and secondary sources.

When every research paper is done, it furthers the field of the topic and provides students with opportunities to increase their knowledge of that particular topic.

The two main types of research papers are argumentative and analytical research papers. Analytical essays ask questions, explore and evaluate the topics while argumentative essay introduces a controversial topic in which the writer is needed to take a stance that will be supported in the essay.

2. Dissertations

A dissertation is a long piece of academic writing based on research that is submitted for Ph.D. and sometimes for Master’s degree purposes.

One purpose of writing dissertations is to make scholarly arguments. For example, dissertations in humanities will have to include evidence that you have gathered from credible books and articles.

Also, dissertations should show that you have done your work. They are crucial in ensuring that graduates get the stamp of approval for their degree credentials from their institutions.

Dissertations are written to professors in various academic departments who have high expertise in different areas of specialization. They are the ones who determine whether students have passed or not.

A thesis is a paper that identifies a specific research question and answers it fully. It includes a thesis statement that provides the stand taken on the research question.

This paper is written mostly by Master’s students after taking core courses in the first half of their program.

It is a culmination of learning to show that the students can easily comprehend and apply theories, practices, principles, and the codes of ethics in a particular field of study.

Report writing is a way of elaborating on a topic formally. The audience is always a thought-out section. For example, a report can be written about a business case or school event.

The main purpose of writing a report is to inform the reader about something without the personal input of the writer on that topic. Therefore, reports only portray facts., charts, solid analysis, data, and tables.

Knowing the audience’s motives is very important because it sets out the set of facts that will be focused on in the report.

5. Field Projects

Field projects involve the integration of theory and practice. As a result, students are allowed to work and write on real-world challenges. The issues that these projects deal with mostly include those of critical aspects of society.

Students research, analyse, and give recommendations on the issues of priority to advance the goals of field project partners. The purpose of these projects is to provide the students with unique learning opportunities where practical first-hand practice in the different professional fields is provided.

The audiences of these projects are the supervisors who often check their programs and grade them after the completion of the project period.

Frequently Asked Questions

What genres of essays are there.

There are four genres of essays. These include exposition, narration, argumentation, and description. These are the type of tasks that are common in essay writing assignments in most institutions.

Therefore, students must understand how to write essays belonging to each of the four genres.

What is an essay in writing?

An essay is a piece of writing that outlines the writer’s views and opinions on a certain story. Essays try to convince the readers about something by shedding light on it through thorough information.

To convince readers, essays must have several components that make them flow logically. These include the introduction, body paragraphs, and conclusion.

Are ALL essays persuasive?

There are different types of essays with each requiring a different approach angle. Persuasive essays differ from other essay types in that they are designed to involve arguments that serve the purpose of making the reader agree with the writer’s point of view.

An argument is made on a single subject or a particular viewpoint and the writer provides evidence that will aid in persuading the reader.

Apart from persuasive essays, others include argumentative essays, descriptive essays, expository essays, and many more.

Is essay fiction or nonfiction?

Essays are nonfiction because the writer is attempting to tell the truth about something.

Essays are not like fictional short stories. For example, in descriptive essays, the writer must dive into deep research on credible information that tells the truth about a certain topic.

Also, in argumentative essays, the writers must show evidence of why they are in favor of a particular point of view

How do you identify a genre in literature?

To identify a genre in literature you will need to identify the tone of writing, the style of writing, the techniques used in the narrative, the length of the essay, and the content of the essay.

Content includes what the essay is all about. It is the aim or main point that the essay tries to prove.

What is the difference between essay and literary forms?

Literary form is the style or manner of constructing, coordinating, and arranging parts of compositions such as poems, novels, and television shows scripts while essays are pieces of writing that just inform the reader about a certain topic.

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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Understanding What is Meant by the Word "Genre"

What do we mean by genre? This means a type of writing, i.e., an essay, a poem, a recipe, an email, a tweet. These are all different types (or categories) of writing, and each one has its own format, type of words, tone, and so on.  Analyzing a type of writing (or genre) is considered a genre analysis project. A genre analysis grants students the means to think critically about how a particular form of communication functions as well as a means to evaluate it.

Every genre (type of writing/writing style) has a set of conventions that allow that particular genre to be unique. These conventions include the following components:

• Tone: tone of voice, i.e. serious, humorous, scholarly, informal.
• Diction : word usage - formal or informal, i.e. “disoriented” (formal) versus “spaced out” (informal or colloquial).
•   Content : what is being discussed/demonstrated in the piece? What information is included or needs to be included?
•   Style / Format (the way it looks): long or short sentences? Bulleted list? Paragraphs? Short-hand? Abbreviations? Does punctuation and grammar matter? How detailed do you need to be? Single-spaced or double-spaced? Can pictures / should pictures be included? How long does it need to be / should be? What kind of organizational requirements are there?
•   Expected Medium of Genre : where does the genre appear? Where is it created? i.e. can be it be online (digital) or does it need to be in print (computer paper, magazine, etc)? Where does this genre occur? i.e. flyers (mostly) occur in the hallways of our school, and letters of recommendation (mostly) occur in professors’ offices.
• Genre creates an expectation in the minds of its audience and may fail or succeed depending on if that expectation is met or not.
• Many genres have built-in audiences and corresponding publications that support them, such as magazines and websites.
• The goal of the piece that is written, i.e. a newspaper entry is meant to inform and/or persuade, and a movie script is meant to entertain.
• Basically, each genre has a specific task or a specific goal that it is created to attain.
• Understanding Genre
• Understanding the Rhetorical Situation

To understand genre, one has to first understand the rhetorical situation of the communication. 

Below are some additional resources to assist you in this process:

• Reading and Writing for College

Genre Analysis

Genre analysis:  A tool used to create genre awareness and understand the conventions of new writing situations and contexts.  This a llows you to make effective communication choices and approach your audience and rhetorical situation appropriately

Basically, when we say "genre analysis," that is a fancy way of saying that we are going to look at similar pieces of communication - for example a handful of business memos - and determine the following:

• Tone: What was the overall tone of voice in the samples of that genre (piece of writing)?
• Diction : What was the overall type of writing in the three samples of that genre (piece of writing)? Formal or informal?
•   Content : What types(s) of information is shared in those pieces of writing?
•   Style / Format (the way it looks): Do the pieces of communication contain long or short sentences? Bulleted list? Paragraphs? Abbreviations? Does punctuation and grammar matter? How detailed do you need to be in that type of writing style? Single-spaced or double-spaced? Are pictures included? If so, why? How long does it need to be / should be? What kind of organizational requirements are there?
•   Expected Medium of Genre : Where did the pieces appear? Were they online? Where? Were they in a printed, physical context? If so, what?
•   Audience:   What audience is this piece of writing trying to reach?
• Purpose :  What is the goal of the piece of writing? What is its purpose? Example: the goal of the piece that is written, i.e. a newspaper entry is meant to inform and/or persuade, and a movie script is meant to entertain.

In other words, we are analyzing the genre to determine what are some commonalities of that piece of communication. 

For additional help, see the following resource for Questions to Ask When Completing a Genre Analysis . 

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3.3 Glance at Genre: The Literacy Narrative

Learning outcomes.

By the end of this section, you will be able to:

• Read and compose in several genres to understand how genre conventions shape and are shaped by readers’ and writers’ practices and purposes.
• Match the capacities of different environments to varying rhetorical situations.

Over time, people have developed specific ways of writing for particular rhetorical situations. These distinctive ways of writing can be referred to in part as genres. You may have heard the term genre in reference to publishing categories, such as novels or memoirs, but the term can refer to any type of writing that conforms to specific forms and benchmarks. Many genres include stories of different kinds—for example, folktales, short stories, accounts of events, and biographies. As author Jonathan Gottschall says in his 2012 book of the same title, humankind is “the storytelling animal”; people of all cultures have engaged in telling stories, both as storytellers and as audience members. Simply put, narrative stories are essential to many genres of writing.

Exploring Narrative: Elements of Storytelling

Narratives, whether about literacy or anything else, include these key elements:

• Plot. Authors of narratives tell about one or more events. In fiction, the plot is the sequence of those events. In nonfiction, a plot is often referred to simply as the events, but nonfiction texts follow similar plot patterns, including exposition or introduction, a series of events leading to a climax or discovery, and events following the climax or discovery.
• Characters. The events in the story happen to characters, or individuals who are part of the story. In nonfiction, these characters are usually real people. The audience should feel a connection to the main character or characters. Readers may like or dislike characters, blame them or feel sorry for them, identify with them or not. Skilled writers portray characters through the use of dialogue, actions or behavior, and thoughts so that readers can understand what these individuals are like.
• Setting. Stories, fiction and nonfiction, take place in settings, which include locations, time periods, and the cultures in which the characters or real people are immersed.
• Problem and Resolution. In narratives, the characters generally encounter one or more problems. The tension caused by the problem builds to a climax. The resolution of the problem and the built-up tension usually occurs near the end of the story.
• Story Arc. Most narratives have a story arc—a beginning, a middle, and an end—but not necessarily in that order. The story arc, or order of events, may occur chronologically, or the story may begin in the middle of the action and explain earlier events later in the sequence.

Specific Details and Other Conventions

To immerse the audience in the story, authors provide specific details of the scenes and action. Many authors, and teachers, call this strategy “showing, not telling.” These aspects can include the following elements:

• Sensory Details: Full, literal or figurative descriptions of the things that the characters see, smell, hear, touch, and taste in their surroundings.
• Dialogue: Conversation between characters.
• Action: Vivid portrayal of the events in the story. Writers often use short sentences and strong verbs to indicate physical or mental action.
• Engaging Language: Sentence structure and word choices, including tone (vocal attitude of the narrator or characters), diction (language used by the narrator or characters), and varied constructions (different kinds of sentences), that provide specific, clear, and compelling information for the audience.

Establishing the Significance

Most importantly, the audience must feel that the story has some significance. While the author’s main point may only be implied, rather than stated outright as in a conventional academic essay, readers should understand the point of the story and believe that it matters.

For example, in the prologue to her memoir about the importance of education for girls, I Am Malala: The Girl Who Stood Up for Education and Was Shot by the Taliban (2013), Malala Yousafzai (b. 1997) writes, “The day when everything changed was Tuesday, 9 October 2012.” Yousafzai provides reference to an exact date, the precise moment when a Taliban gunman shot her in the head because she had spoken publicly in favor of girls’ right to education. Identifying the date in this way is a technique that serves a variety of purposes. This technique provides a focal point to draw the audience into the story, identifies details that serve as rising action that the audience can assume will culminate on this date, marks the setting in both time and place for the audience, and ultimately foreshadows a climax of action for the reader. The following elements, therefore, are crucial for writers of narratives to consider when creating content for their writing.

• Audience. Narratives are designed to appeal to specific audiences; authors choose storytelling elements, details, and language strategies to engage the target audience.
• Purpose. Authors may tell stories for different reasons: to entertain, to reinforce cultural norms, to educate, or to strengthen social ties. The same story may, and often does, fulfill more than one purpose.

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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.

Prevent plagiarism. Run a free check.

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:

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!

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

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• Choosing Essay Topic
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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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Table of Contents

Collaboration, information literacy, writing process.

• © 2023 by Joseph M. Moxley - University of South Florida

Genre may reference  a type of writing, art, or musical composition; socially-agreed upon expectations about how writers and speakers should respond to particular rhetorical situations; the cultural values; the epistemological assumptions about what constitutes a knowledge claim or authoritative research method; the discourse conventions of a particular discourse community . This article reviews research and theory on 6 different definitions of genre, explains how to engage in genre analysis, and explores when during the writing process authors should consider genre conventions. Develop your genre knowledge so you can discern which genres are appropriate to use—and when you need to remix genres to ensure your communications are both clear and persuasive.

Genre Definition

G enre may refer to

• by the  aim  of discourse
• by discourse conventions
• by  discourse communities
• by a type of technology
• a social construct
• the situated actions of writers and readers
• the situated practices and epistemological assumptions of discourse communities
• a form of  literacy .

Related Concepts: Deductive Order, Deductive Reasoning, Deductive Writing ; Interpretation ; Literacy ; Mode of Discourse ; Organizational Schema; Rhetorical Analysis ; Rhetorical Reasoning ; Voice ; Tone ; Persona

Genre Knowledge – What You Need to Know about Genre

Genre plays a foundational role in meaning-making activities, including interpretation , reading , writing, and speaking.

In order to communicate with clarity , writers and speakers need to understand the expectations of their audiences regarding the appropriate content, style, design, citation style, and medium. Genres facilitate communication between writers and readers, authors and audiences, and writers/speakers and readers/listeners. Genre and genre knowledge increase the likelihood of clarity in communications .

Writers use their knowledge of genre to jumpstart composing: a genre presumes a formula for how to organize a document, how to develop and present a research question , how to substantiate claims–and more. For writers, genres are an efficient way to respond to recurring situations . Rather than reinvent the wheel every time, writers save time by considering how others have responded in the same or a similar situation . Genres are like big Lego chunks that can be re-used to start a new Lego creation that is similar to past Lego creations you’ve created.

In turn, readers use genres to more quickly scan information . Because they know the formula, because they share with the author as members of a discourse community a common language, common topoi , archive , canonical texts , and expectations about what to say and how to say it in, they can skip through a document and grab the highlights.

Six Definitions of Genre

1. genre refers to a naming and categorization scheme for sorting types of writing.

“… [L]et me define “genres” as types of writing produced every day in our culture, types of writing that make possible certain kinds of learning and social interaction.” (Cooper 1999, p. 25)

G enre  refers to types of writing, art, and musical compositions. For instance

• alphabetical texts may be categorized as Expository Writing, Descriptive Writing, Persuasive Writing, or Narrative Writing .
• movies may be categorized as Action & Adventure, Children & Family Movies, Comedies, Documentaries, Dramas.
• music may be categorized as Artist, Album, Country, New Age, Jazz, and so on.

There are many different ways to define and sort genres. For instance, genres may defined based on their content, organization, and style. Or, genres may be defined and categorized based on

• Examples: Drama, Fable, Fairy Tale, etc.
• Move 1 Establish a territory
• Move 2 Establish a niche
• Move 3 Occupy the niche (Swales and Feak 2004)
• A research article written for a scientific audience most likely uses some for of an “IMRAC structure”–i.e., an introduction, methods, results, and conclusion
• An article in the sciences and social sciences would use APA  style for citations
• by the type of technology used by the sender and the receiver of the information.

2. Genre is a Social Construct

“Genres are conventions, and that means they are social – socially defined and socially learned.” (Bomer 1995:112) “… [A] genre is a socially standard strategy, embodied in a typical form of discourse, that has evolved for responding to a recurring type of rhetorical situation.” (Coe and Freedman 1998, p. 137)

Genre is more than a way to sort types of texts by discourse aim or some other classification scheme: Genres are social, cultural, rhetorical constructs. For example,

• writers draw on their expectations about what they believe their readers will know about a genre–how it’s structured ( what it’s formula is! ) and when it’s socially useful.
• readers draw on their past experiences as readers and as members of particular discourse communities. They hold expectations about the appropriate use of particular textual patterns in specific situations.

Or, consider this example: in the social situation of seeking a job, an applicant knows from  the archive , the culture,  the conversations about job seeking , that they are expected to create a  letter of application  and a  résumé . More than that, they know the  point of view  they are to take as well as the  tone –and more.

Writers and readers develop textual expectations tacitly — by reading and speaking with others — and formally: by studying genres in school. Students are inculcated in textual practices of particular disciplines (e.g., engineering or biology) as part of their academic and professional training.

3. Genres Reflect the Situated Actions of Writers and Readers

“a rhetorically sound definition of genre must be centered not on the substance or the form of discourse but on the action it is used to accomplish” (Miller 1984, p. 151)

Carolyn Miller (1984) extends this social view of genre in her article Genre as Social Action by operationalizing genre from a rhetorical perspective. Miller asserts genres are the embodiment of situated actions. In her rhetorical model of genre, Miller theorizes

• writers enter a rhetorical situation guided by aims (e.g., to persuade users to support a proposal ). The writer assesses the rhetorical situation (e.g., considers audience , purpose , voice , style ) to more fully understand the situation and the motives of stakeholders.
• For instance, a researcher could dip into a research study seeking empirical support for a claim . A graphic designer could open a magazine looking for layout ideas.

4. Genres Embody the Situated Practices and Values of Discourse Communities

“Genre not only allows the scholar to report her research, but its conventions and constraints also give structure to the actual investigations she is reporting” (Joliffe 1996, p. 283).

The textual practices of discourse communities reflect the epistemological assumptions of practitioners regarding what constitutes an appropriate rhetorical stance , research method , or knowledge claim . For instance, a scientist doesn’t insert their subjective opinions into the methods section of a lab report because they understand their audience expect them to follow empirical methods and an academic writing prose style

Academic documents, business documents, legal briefs, medical records—these sorts of texts are grounded in the situated practices of members of particular discourse communities . Practitioners — e.g., scientists in a research lab, accountants in an accountancy firm, or engineers in an engineering firm— share assumptions, conventions, and values about how documents should be researched, written, and shared. Discourse communities develop unique ways of communicating with one another. Their daily work, their situated practices, reflect their assumptions about what constitutes knowledge , appropriate research methods, or authoritative sources . Genres reflect the values of communities . They provide a roadmap to rhetors for how to engage with community members in expected ways. (For more on this, see Research ).

5. Genre Knowledge Constitutes a Form of Literacy

Genres  are created in the forge of recurring  rhetorical situations . Particular  exigencies  call for particular  genres . Applying for a job? Well, then, a résumé and cover letter are called for. Trying to report on an experiment in organic chemistry? Well, then a lab report is due. Thus, being able to recognize which  genre  is called for by  a particular exigency, a particular call to write , is  a form of literacy : If you’re unfamiliar with a genre and your reader’s expectations for that genre, then you may as well be from mars.

Genre Analysis – How to Engage in Genre Analysis

When we enter a rhetorical situation , guided by a sense of purpose like an explorer clutching a compass, we invariably compare the present situation to past situations. We reflect on whether we have read the work of other writers who have also addressed the same or somewhat equivalent rhetorical situation , the topic, we’re facing. If you have a proposal due, for instance, it helps to look at some samples of past proposals–particularly if you can access proposals funded by the organization from whom you are seeking support. 

For genre theorists, these are acts of typification –a moment where we typify a situation: “What recurs is not a material situation (a real, objective, factual event) but our construal of a type” (Miller 157).

In other words, genres are conceptual tools, ways we relate situated actions to recurring rhetorical situations. When first entering a situation, we assess whether this is a recurring rhetorical situation and whether past responses will work equally well for this new situation—or if we’ll need to tweak our response, our text, a bit. For instance, if applying for a job, you might look at previous drafts of job application letters

Genres are like prefabricated Lego pieces that we can use to jumpstart a new Lego masterpiece.

We abbreviate the experiences of our lives by creating idealized versions–i.e., metatexts that capture the gist of those experiences. Or, we access the archive , or our memory of the archive, and seek exemplars — canonical texts , the works of others who addressed similar exigencies , similar rhetorical situations.

To make this less abstract, let’s consider what might go through the mind of a writer who wants to write a New Year’s party invitation. If the writer were an American, they might reflect on the ritual ball drop in Times Square in New York City. They might recall past texts associated with New Year’s celebrations (party invitations, menus, greeting cards, party hats, songs, and resolutions) as well as rituals (fireworks, champagne, or a New Year’s kiss). They might even conduct an internet search for New Year’s Eve party invitations or download a party template from Google Docs or Microsoft Word. Over time, that writer’s sense of the ideal New Year’s party invitation becomes typified —a condensation of the texts and rituals and stories.

Because we tend to have unique experiences and because we have different personalities, motives, and aims , our sense of an ideal New Year’s Eve invitation might be somewhat different from those of our friends and family—or even the broader society. Rather than assuming it’s a good time to go out and party and dance, you may think it’s a good time to stay home and meditate. After all, as writers, we experience events, texts and rituals subjectively and uniquely. Thus, we don’t all have the same ideas about what should happen at a New Year’s party or even what the best party invite should look like. Still, when we sit down to write a party invitation for New Year’s Eve, this is a reoccurring situation for us, and we cannot help but be influenced by all of the past invitations we’ve received, what our friends and loved ones have recommended, and what we see online for party invite templates (if we engage in strategic searching).

Sample Genre Analysis

Below are some sample questions and perspectives you may consider when engaging in Genre Analysis.

1. When During Composing Should I Engage in Genre Analysis?

Early in the writing process — during prewriting — you are wise to identify the genre your audience expects you to follow. Then, engage in strategic searching to identify exemplars and canonical texts that typify the genre.

Next, you might begin your first draft by outlining the sections of discourse associated with the genre you’re writing in. For example, if you are writing an Aristotelian argument for a school paper, you might jumpstart your first draft by listing the rhetorical moves associated with Aristotelian argument as your subject headings:

• Introduce the Topic
• Introduce Claims
• Appeal to Ethos & Persona to Establish an Appropriate Tone
• Appeal to Emotions
• Appeal to Logic
• Present Counterarguments
• Search for a Compromise and Call for a Higher Interest
• Speculate About Implications in Conclusions

That said, it’s important to note that some people prefer not to think about genre at all during drafting. Research in writing studies has found that there is no single, ideal writing process . Instead, our personalities, rhetorical stance , openness to information , rhetorical situation (e.g., contextual factors such as time available and access to information )–and more — influence how we compose.

You may not want to think much about genre when

• You’re the type of writer who needs to write your way to meaning. For you, writing is rewriting
• Your audience may have specific expectations in mind that you haven’t addressed. You may be unfamiliar with how other writers have addressed that situation in the past. You may lack access to the information you need to research how others typically respond to the rhetorical situation you are facing

In summary, thinking about genre and reading the works of other writers addressing similar rhetorical situations will probably help you jumpstart a writing project. However, at the end of the day, only you can decide how to work with genres of discourse.

Coe, R., & Freedman, A. (1998). Genre theory: Australian and North American approaches. In M. L. Kennedy (ed), Theorizing composition: A critical sourcebook of theory and scholarship in contemporary composition studies (p p. 136-147). Greenwood Press.

Joliffe, D. A. (1996). Genre. In T. Enos (ed), Encyclopedia of rhetoric and composition: Communication from ancient times to the information age (pp . 279-284). Garland Publishing.

Miller, R. (1984). Genre as social action. Quarterly Journal of Speech, 70 , 151-167.

Swales, J., & C. Feak (2004). Academic writing for graduate students: Essential tasks and skills . University of Michigan Press

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Genre Knowledge: Linking Movies and Music to Genres of Writing

• Genre Scavenger Hunt 

Genre and Rhetorical Situation: Choosing an appropriate Genre

• Genre and Reflection Exercise: Using Reflection to Understand Genre 

Comparing Digital Genres: Facebook, Twitter, and Text Messaging

Purpose of Exercise:  This exercise helps students understand that writers use genre to reach a variety of different audiences (themselves, friends, peers, instructors, employers, parents, and more) with lots of different expectations. To reach an audience effectively, writers need to be flexible -- they need to be able to analyze and make decisions about how to approach any writing situation. Developing genre knowledge prepares students to assess the writing situations they’ll encounter in college and beyond.

Description:  Students work in small groups to identify conventions of various movie genres and discuss audience expectations. Each group presents the conventions of their genre to the class, and class discussion allows for identification of similarities/differences/connections between genres. The discussion shifts to genres of music, where conventions are identified but also the “blurriness” of genres is discussed. All this discussion about the familiar – movies and music – gets students to identify what a genre is, how we might define it or at least qualify it, and finally what an audience expects from a particular genre. Students have some confidence about the concept of genre for the next step, the discussion of the less familiar writing genres. In groups, students identify conventions of various genres of writing – the academic essay, a text message, a newsletter, a poster, a web site, a lab report, an obituary, a magazine article – and report back. The class then discusses what these genres include, how they might be defined, and what audiences expect from each genre. 

Suggested Time:  30-50 for exercise; plus 20 minutes suggested for journal writing which can be assigned in–class or as homework

Procedure:  Divide students into small groups. Assign each group a movie genre (horror, romantic comedy, drama, action, thriller, comedy, documentary, or other). Have students answer the following questions:

• Genre: What are the conventions of your group’s movie genre?
• Audience: Who goes to/rents/watches this type of movie?
• Audience Expectation: What does an audience expect to experience/feel/learn/see from this genre?
• Evidence: Provide 3 examples of movies that fit this type and explain why they fit. 

Move to class discussion – ask each group to present their genre while you note their points on the board; once all groups are done, engage in class discussion to add more conventions or expectations, draw connections between genres, and allow students to come up with genres and conventions you did not originally assign. 

Next, ask students to look at their iPods or phones or wherever their music is stored. Ask for some favorite songs and write them on the board. Then ask students to define the genre of each, or ask in which genre the song is categorized in their iPod? Continue class discussion by asking for other genres of music, with conventions and song examples. Ask the class to come up with a “genre bleeder” or song that is difficult to categorize (i.e. Jimmy Buffett’s “Margaritaville straddles country and pop, Black–Eyed Peas’ “Boom Boom Pow” straddles R&B, Hip Hop, and Pop, Kid Rock’s “Roll On” is a country song often categorized as Rap because of the artist’s other work). At this point, the instructor may choose to move back to the movie discussion to identify “genre bleeders” but only for a minute or two so the discussion can move to writing.

Next, move the class into a discussion of genres of writing. Ask them to identify different types of writing – from class reading assignments, to writing they do every day, to writing they see in public. Then organize into categories – genres and subgenres – on the board. This exercise often requires more prompting than movies and music – students don’t always think about writing genres when they encounter them. If necessary, break them off into small groups again to identify as many types of writing as they can in 2 minutes. Then come back together.

On the board, as you categorize writing into genres and subgenres, ask students to direct you. Prompt them to consider which genres are parallel and which are subgenres of another. Be sure to ask them for a wide range of examples – genres of fiction, genres of professional writing, genres of personal writing (they never see texting as writing so it’s a good one to start with), etc. As they begin to make sense of writing genres, they will offer more examples. The board should become crowded with examples and arrows drawing connections between genres. 

Ask students to identify the one element that is always a factor in deciding on a genre to compose in, whether you are composing in writing, in music, or in film: Audience. 

Finally, ask students to complete a journal, in class or as homework. The following prompts can be used:

• How do you define genre?
• Does your definition hold true for movies, music, and writing, or does it differ between media?
• What makes a genre definable, or what makes us able to categorize a genre? Provide an example of a genre of writing and illustrate its categorization.
• List 10 genres of writing you use here at FSU regularly, both in and out of class.
• What are the audiences for the genres you mention above?
• What genre are you writing in now? Define it and identify its audience.
• What is the role of audience in considering genre? Why does audience matter?

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Genre scavenger hunt.

Purpose of Exercise: This exercise is a great way to get students actively thinking outside of their understanding of genre in music and movies. It is meant to get them outside of the classroom and up and moving around. More importantly, it is great exercise to show students how writing is public and that writing can take many forms including everyday use. The exercise helps students begin to make connections between the writing they do in the classroom and the writing they do outside the classroom. 

Description:  Have students in groups of two or three and give them a list of things they must “find” relating to genre within the Williams Building. 

Suggested Time:  30-40 minutes; plus 20 min reflection to bring it all together

Procedure:  Put students into groups of two or three. Let them know they will be working in these groups and can’t expand to include two groups in one. Tell them they will be doing a “genre scavenger hunt” and in order to complete it they must venture into the halls of Williams. Anywhere in Williams is fair game but they can’t leave the building. The first two teams back wins

**Note: you don’t have to have a “prize” but you can if you would like. Candy works or bonus points on homework on in-class assignments.

**Note: the hunt works best if students use their cell phones to take pictures and videos, but a pen and paper works just as well. So if one group doesn’t have a phone that has these functions they can still participate. 

Students need to come back with the following items—

• 5 different examples of genres—they must document them by taking pictures with one of the group members phones. Note: Some examples they could find—someone on a laptop, someone texting, a professor teaching, a literature book, a poster, etc. 
• Find one person in the Williams building to define genre theory (they have to get a name of the person)—they must document this by video recording them with their phone or jotting notes while the person talks
• Find an example of an “old” genre and “new” genre—they must document them by taking pictures and jotting down on a piece of notebook paper why they represent old and new genres (these must be different than the 5 examples of genre they found in #1) **Note: newer genres can include digital genres, so for example a picture of a text message 
• Find two examples of genres in action in other words find two examples of people working in genres (you can give them a hint: could be someone typing up a note)—they must document them by taking pictures 
• Predict a new genre based on your understanding of genre theory 

The Reflection:  In a quick reflection, respond to the following questions: 

What did you learn about genre in the scavenger hunt? Why might the scavenger hunt have been useful? Redefine genre. How, if at all, does your definition of genre keep expanding? 

Purpose of Exercise:  This exercise helps students understand that genre is linked to rhetorical situation, and that the choice of genre is one a writer must carefully decide using a variety of factors. Key to making the appropriate choice is audience, message, and occasion – all factors in the rhetorical situation. In order for students to write successfully beyond the FYC classroom, they must understand how to make choices appropriate to the writing situation. Understanding the factors that determine the rhetorical situation and how genre and audience connect within each situation, will help students make choices that will lead to successful writing in other contexts.

*Some knowledge of Lloyd Bitzer’s article “The Rhetorical Situation” is especially helpful for this activity—whether it’s the teacher’s familiarity or whether the article is assigned as reading is up to you.

Description:  Students work at “stations” in the classroom, using the same overall scenario to write using a different genre for each rhetorical situation the scenario has created. The scenario is a car accident which requires communication to different audiences, and forces students to think about the rhetorical situation and how it changes based on audience and genre. 

Suggested Time:  50 minutes; plus 20 minutes suggested for reflection writing which can be assigned in–class or as homework

Procedure:  Before class starts, post each scenario (on paper) at different points in the classroom, creating a “writing station” for each. Forcing students to physically move between stations emphasizes the change in rhetorical situation, and it allows students to write at their own pace and collaborate with a new group at each station. 

Note:  For computer classrooms, adapt this exercise by creating one handout/Discussion Board post that students can use as a guideline to write on computers. Add in a small group discussion about the assignment before they being writing so there is an element of collaboration, the assignment is understood, and questions can be brought up (or stop the class for a minute after each “station” to discuss the next. 

(Instructions to give students: A message is communicated successfully if it is received by its intended audience. The message conveyed in two different genres might involve the same content, but the conventions used to communicate this message may be drastically different depending on factors of the rhetorical situation. In this exercise we’ll analyze the ways conventions are used to communicate messages, the underlying assumptions associated with different genres, and the choices we must make when writing based on the audience for which we are writing.  For all scenarios, stick to the details in the story provided but tailor your writing appropriately. Write each piece to the specific audience, analyzing before and as you write, how considering your audience and your genre varies.)

Divide students into small groups at each station so everyone starts at different places. Encourage them to collaborate in discussing genre conventions, while the instructor circulates to get involved in the discussion at each station. The overall rhetorical situation is as follows: 

Earlier today you were in a car accident while driving your grandmother’s car on your way to take your Biology midterm. Luckily you were not hurt, nor were any others, but your vehicle and another have significant damage and are headed to the repair shop. Since you were texting your friend while driving instead of paying attention, you ran through a red light, so the accident was your fault. Police responded to the scene and your insurance company has been notified. Your grandmother’s car was towed away to get repaired.

Use the following scenarios for each station:

Scenario #1 

You now have to write a letter to your grandmother telling her about the accident. Write this in the genre of a letter, whichever of those you would use to communicate with Grandma. Some things to consider as you write: 

• What content should be included for this genre? (What information and details are relevant in this letter to your grandmother?)
• What is the style of the language used?
• What format is it written in? How could I tell by looking at it that it is a letter? 

Scenario #2

Because of the car accident, you are missing your Biology midterm. Your professor is old and ornery, and you are pretty sure he said “if you miss the midterm or final, your grade is zero - no make-ups” at the beginning of the semester. You are stressed out! By the time the police clear the accident scene, the mid-term is over and you are headed home. Write an email to your Biology professor, explaining what happened and appealing to him for another chance to take the mid-term or to make it up somehow. Write the email, considering the audience and the situation as well as the following:

• What content should be included? What details are relevant? Or too much?
• What style of language should you use for this email?
• What else is appropriate? 

Scenario #3 

Write a text message to a friend – you are finished at the accident scene and need a ride. Write this in the genre of a txt msg explaining what you need, why, and from where to where. Some things to consider: 

• What content should be included for this genre? (What info/details are relevant in a text message?)
• What is the style of the language used in a text message to a friend?
• What format is it written in? How could I tell by looking at it that it is a text message? 

Scenario # 4 

You are now writing about the accident in the diary/journal you keep to record your thoughts every night before you go to bed. You have had a rough day, and you’re trying to make sense of things before going to sleep. Write this in the genre of a “journal entry.” Some things to keep in mind: 

• What content should be included for this genre? What details are relevant?
• What is the style of the language used? Who is the audience?
• What format is it written in? How is it obviously a journal entry? 

Scenario #5 

You are doing some online research about car accidents a few weeks after your accident happened because it had a big impact on you even though you were unhurt. You stumble across a blog where people share their stories about how car accidents have impacted their lives. There is an open forum for anyone who wants to post an entry to do so. You read about some horrific accidents that left people with permanent damage or loss. You are struck by the fact that your car accident, while inconvenient and a bit scary, was nothing as bad as it might have been. You decide to tell your story. Write a blog entry detailing your experience and explaining its impact on you. Some things to keep in mind: 

• What content would you include in this genre? Why? 
• What is the style of the language used? What format is it written in? 
• What are the conventions of a blog?
• Who is the audience?

Scenario #6

You are assigned an essay for your Psychology class on the topic of human behavior and what makes people change learned habits. The assignment requires that you indicate why the topic is important to you as the writer of it. You decide to write about distracted driving, and you include your story about texting and driving as the introduction, using this personal experience to set the stage for your essay and explain your interest in the topic. It is significant for you because the accident reminds you of another time in your life when you had a close call that left you with a greater sense of appreciation for life. But you still engaged in texting while driving, so it occurs to you that you didn’t learn the lesson. Write the introduction to this Psych essay, keeping the following in mind: 

• What genre are you writing in and what are its conventions? 
• Who is the audience and what are its expectations?
• What details are relevant to this introduction?
• What does this part of the essay need to do? How will you achieve that goal? 

Reflection on Rhetorical Situation and Genre:

Reflect on the experience of writing in different genres for each rhetorical situation. Use the following prompts as a guideline:

• How did you know what was appropriate for each genre?
• For each scenario, how did your audience impact what and how you chose to say?
• Compare any two scenarios and discuss the significant differences in rhetorical situation (discuss purpose, audience, intended outcome, and appropriateness of writing style for each).
• How does your understanding of genre, audience, and rhetorical situation influence the choices you make in writing?
• What 5 elements from this exercise can you apply to a writing assignment you are currently working on in any other class? In other words, what did you learn by doing this that you can now transfer to another writing situation? 

Genre and Reflection Exercise: Using Reflection to Understand Genre

Purpose of Exercise:  This exercise helps students articulate how genre plays a role in their understanding of their own writing and writing process(es). Using reflection as the method by which they explore their understanding of genre and key terms in writing, students can begin to make connections to how the understanding of genre aids their ability to write more successfully. 

Description:  This is a four step exercise that normally spans at least two-three class periods and is most often helpful when done during week two or week three of the semester. Additionally, it works best if you have the students read several different readings that are in several different genres. So for example have students read a short memoir, a newspaper article, and an inquiry-based essay as homework during this week of class, so they have a variety of genres that you know they have read.

Note: This activity works well when used alongside the activity “Genre Knowledge: Linking Movies and Music to Genres of Writing.”

Suggested Time:  25-30 minutes per class period; plus 30 min discussion at the end of the second class and a 20 min reflection to bring it all together

Procedure: 

**Note: if you do not teach in a computer classroom you can have the students write in a notebook. 

Step 1: Key Terms

During the second week of class have students take 20 min or so to respond to the following questions:

In this quick reflection, think about words or terms that you believe are important in creating "good" writing (think about your own writing and your method of writing...what terms would you associate with this?). Generate a list of 5-10 terms and define them. Next give specific examples of authors and/or pieces that you believe use these terms and do so in a  good  way. Finally, tell why you believe the list you have created is important to writing, specifically your own writing.

After having students generate this list have them hold onto it until the next class. 

Step 2: Understanding Genre

Have the students pull up their list from the first day and reflection to the following questions: 

If you had to define genre based on your readings and your own understanding of genre, what would that definition be? Think about each of the readings and their specific genre and support your definition with examples from the three readings so far. Be specific. Talk through how each author uses genre.

Step 3: Class Discussion

Lead a class discussion using the following questions as a guideline:

Why is it important that you learn about different genres of writing? Why learn about key terms such as genre, audience, purpose, rhetorical situation, etc? What does it do for your writing to understand these key terms? How do these terms contribute to your development as a writer?

Step 4: Bringing it Together

After the class discussion has the students reflect on the following questions:

Revisit your key terms and your reflection on good writing. How has this changed or morphed? Would you add/delete any key terms—why or why not? Walk through your writing process. How does your new understanding of genre affect your writing process? 

Purpose of Exercise:  This activity provides students with a chance to develop and apply genre knowledge to digital genres to see how they are both similar to and different from each other and“analogue” genres. By comparing the digital genres of the Facebook status update, the tweet, and the text message, students are able to see how digital writing responds to diverse purposes and audiences. 

Description:  In this activity, students compare (their own or others’) the Facebook statuses, tweets, and text messages and complete a series of writing and discussion tasks to look at the genres that shape their own (and others’) writing in digital media.

Suggested Time:  20-30 minutes, but flexible

First, have students collect a certain number of Facebook statuses, tweets, and texts messages—either their own or from others. If you are in a computer classroom, this can be done in-class. If not, it may be useful to give students a homework assignment in which they collect—and maybe even print out—these snippets of text.

Next, have students take a moment to write about if and how they use these three kinds of writing. You might prompt them with one (or several) of the following questions: 

Do they Facebook? Tweet? Write text messages? When and with what digital technologies? Do they use them for the same purposes? Do they use them for different purposes and in different situations? Who do they plan to reach when they write a Facebook status, tweet, or text message? In short, how do they decide whether to write a Facebook status, tweet, or text?

Third, have students take a minute to write about how these genres are both similar to and different from each other. You might prompt them with one (or several) of the following questions: 

What kind of writing does each venue allow you to do? What doesn’t it allow you to do (that is, what constraints does it put on you)? How does each genre allow you to connect texts with each other? How do they incorporate (or not) images? What do you think is the history of this genre?

Finally, bring students together for a discussion and reflection. What kind of patterns emerge as they share what they’ve written? Are there generalizations that can be drawn about the way we use these particular digital genres? And, finally, how do the uses of Facebook statuses, tweets, and text messages differ from the genres they use in school? And why might that be?

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Genres of Writing

We use the term genres to describe categories of written texts that have recognizable patterns, syntax, techniques, and/or conventions. This list represents genres students can expect to encounter during their time at Duke. The list is not intended to be inclusive of all genres but rather representative of the most common ones. Click on each genre for detailed information (definition, questions to ask, actions to take, and helpful links).

• Abstract (UNC)
• Academic Email
• Annotated Bibliography
• Argument Essay
• Autobiographical Reflection
• Blogs (Introduction)
• Blogs (Academic)
• Book Review
• Business Letter (Purdue)
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• Response/Reaction Paper
• Resume, Non-academic ( useful list of action verbs from Boston College)
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Composition Writing Studio

Argumentative essay/commentary.

From the University of Purdue’s Online Writing Lab (http://owl.english.purdue.edu/owl/resource/685/05/):

The argumentative essay is a genre of writing that requires the student to investigate a topic, collect, generate, and evaluate evidence, and establish a position on the topic in a concise manner.

Argumentative essay assignments generally call for extensive research of literature or previously published material. Argumentative assignments may also require empirical research where the student collects data through interviews, surveys, observations, or experiments. Detailed research allows the student to learn about the topic and to understand different points of view regarding the topic so that s/he may choose a position and support it with the evidence collected during research. Regardless of the amount or type of research involved, argumentative essays must establish a clear thesis and follow sound reasoning.

• Argument Essays: Getting Started
• Developing Paragraphs
• Finding Academic Journals
• Logical Fallacies
• Research Writing

General Resources:

• Argument :   UNC Chapel Hill Writing Center's online handout in argument.
• Types of Argument
• Writing Arguments: An Overview :  Comprehensive guide from Colorado State University's Writing Studio
• Sample Argument Essays
• Prompts for Argument Essays :  301 ideas from the New York Times
• Argument :  Main page for several argument sources from Oregon State University
• Using Rhetorical Strategies for Persuasion

Rhetorical Appeals (Logos, Pathos, Ethos)

• Examples of Ethos, Pathos, and Logos :  Numerous examples of each appeal from YourDictionary
• The Rhetorical Situation :  Purdue OWL's discussion of Aristotle's three appeals and use of telos and kairos
• Ethos, Pathos, and Logos in Advertising :  YouTube video
• Ethos, Pathos, Logos:   YouTube video

Toulmin Argument

• Toulmin Method :  An extensive online guide from Colorado State University on using the Toulmin method of argumentation
• Toulmin Method of Analyzing Arguments :  PowerPoint that defines and offers examples for Toulmin method
• Definition of the Toulmin Method :  Adaptation of a chapter on Toulmin's approach to argument
• Toulmin Argument (Aims of Argument) :  YouTube video

Rogerian Argument

• Rogerian Argument :  Information on definition and format of argument
• Rogerian Argument Example :  YouTube Video
• Rogerian Argument :  YouTube Video

Counter Arguments/Perspectives

• Counter Argument :  Overview provided by Harvard College
• Writing Counter Argument Paragraphs :  YouTube video
• Rhetorical Fallacies

Genreblomst

Blomstens blade

• Skrivetænkning I et essay går forfatteren ind i en slags debat eller samtale med sig selv. En indre monolog. Der argumenteres for og imod, og forskellige løsninger bliver undersøgt. Forfatteren tænker nærmest højt, mens der skrives. Et essay bliver derfor en række af tankestrømme. Man kan kalde det for skrive-tænkning.
• Det konkrete, det erindrende, reflekterende Disse 3 ord bruges til at huske på, hvad et essay helst skal indeholde. 1. Det konkrete: Der skal være et tydeligt emne som essayet handler om. Emnet vises frem, beskrives, foldes ud og forklares. Forfatteren starter med sig selv, og “zoomer” derefter ud til omverdenen og ser det fra andre vinkler. Fx viden fra eksperter osv. Det er ikke forfatteren, der er vigtig – det er emnet, der er vigtigt. Men det er stadig forfatteren, der tager det frem og forholder sig til det.  2. Det erindrinde: Her fortæller forfatteren om personlige erfaringer og oplevelser med emnet. Forfatteren deler også et særligt minde, hvor der huskes tilbage. Her gives der detaljerede beskrivelser af, hvad der skete, og hvordan det var at være der. Forfatteren har sanserne med i sine beskrivelser: høre-, lugte-, syns-, smags- og følesansen. 3. Det reflekterende: Her reflekterer forfatteren over emnet. Der tænkes over emnet og det belyses fra flere vinkler. Emnet vendes og drejes og undersøges grundigt. Forfatteren forsøger at få “styr” på emnet – at begribe og forklare det. Der gives eksempler, forklaringer, argumenter og overvejelser. Et essay er ikke kun en personlig fortælling. 
• Forfatteren elsker detaljer Selv de små ting har forfatterens interesse. Forfatteren er interesseret i at gå på opdagelse i emnet og forklare det videre i teksten. Alle hjørner undersøges for at finde interessante ting at fremhæve. Man “nørder” med emnet. 
• Den røde tråd Et essay begynder ofte med et eksempel, en scene eller erindring. For alle tre muligheder gælder det, at emnet præsenteres hurtigst muligt og forbliver i fokus. Emnet er “den røde tråd” i teksten. Alt i essay’et spinder rundt om emnet, og forfatteren vender hele tiden tilbage til det. Forfatteren kommer ofte til en form for forståelse eller konklusion til sidst. 
• Forfatteren er til stede Man kan mærke forfatterens personlighed og humør igennem teksten. Man mærker ofte en tydeligt lyst fra forfatteren til at tænke tanker om emnet. Forfatteren er til stede og er nærværende. 
• Der leges med sproget Et essay lyder godt. Forfatteren har ofte gjort sig umage med at skrive. Sproget er velovervejet og velformuleret. Man leger også gerne med ordene og sproget, for at fremhæve pointer eller for at gøre teksten mere underholdene. Ofte er titlen på et essay spøjst eller interessant. Forfatteren bruger gerne billedsprog, ordspil og andet, som kan give teksten farve. Eksempler og erindringer skrives i et levende sprog, fyldt med stemninger og sansebeskrivelser, så vi får masser af indre billeder, når vi læser det..

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Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Argumentative Essays

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The Modes of Discourse—Exposition, Description, Narration, Argumentation (EDNA)—are common paper assignments you may encounter in your writing classes. Although these genres have been criticized by some composition scholars, the Purdue OWL recognizes the wide spread use of these approaches and students’ need to understand and produce them.

What is an argumentative essay?

The argumentative essay is a genre of writing that requires the student to investigate a topic; collect, generate, and evaluate evidence; and establish a position on the topic in a concise manner.

Please note : Some confusion may occur between the argumentative essay and the expository essay. These two genres are similar, but the argumentative essay differs from the expository essay in the amount of pre-writing (invention) and research involved. The argumentative essay is commonly assigned as a capstone or final project in first year writing or advanced composition courses and involves lengthy, detailed research. Expository essays involve less research and are shorter in length. Expository essays are often used for in-class writing exercises or tests, such as the GED or GRE.

Argumentative essay assignments generally call for extensive research of literature or previously published material. Argumentative assignments may also require empirical research where the student collects data through interviews, surveys, observations, or experiments. Detailed research allows the student to learn about the topic and to understand different points of view regarding the topic so that she/he may choose a position and support it with the evidence collected during research. Regardless of the amount or type of research involved, argumentative essays must establish a clear thesis and follow sound reasoning.

The structure of the argumentative essay is held together by the following.

• A clear, concise, and defined thesis statement that occurs in the first paragraph of the essay.

In the first paragraph of an argument essay, students should set the context by reviewing the topic in a general way. Next the author should explain why the topic is important ( exigence ) or why readers should care about the issue. Lastly, students should present the thesis statement. It is essential that this thesis statement be appropriately narrowed to follow the guidelines set forth in the assignment. If the student does not master this portion of the essay, it will be quite difficult to compose an effective or persuasive essay.

• Clear and logical transitions between the introduction, body, and conclusion.

Transitions are the mortar that holds the foundation of the essay together. Without logical progression of thought, the reader is unable to follow the essay’s argument, and the structure will collapse. Transitions should wrap up the idea from the previous section and introduce the idea that is to follow in the next section.

• Body paragraphs that include evidential support.

Each paragraph should be limited to the discussion of one general idea. This will allow for clarity and direction throughout the essay. In addition, such conciseness creates an ease of readability for one’s audience. It is important to note that each paragraph in the body of the essay must have some logical connection to the thesis statement in the opening paragraph. Some paragraphs will directly support the thesis statement with evidence collected during research. It is also important to explain how and why the evidence supports the thesis ( warrant ).

However, argumentative essays should also consider and explain differing points of view regarding the topic. Depending on the length of the assignment, students should dedicate one or two paragraphs of an argumentative essay to discussing conflicting opinions on the topic. Rather than explaining how these differing opinions are wrong outright, students should note how opinions that do not align with their thesis might not be well informed or how they might be out of date.

• Evidential support (whether factual, logical, statistical, or anecdotal).

The argumentative essay requires well-researched, accurate, detailed, and current information to support the thesis statement and consider other points of view. Some factual, logical, statistical, or anecdotal evidence should support the thesis. However, students must consider multiple points of view when collecting evidence. As noted in the paragraph above, a successful and well-rounded argumentative essay will also discuss opinions not aligning with the thesis. It is unethical to exclude evidence that may not support the thesis. It is not the student’s job to point out how other positions are wrong outright, but rather to explain how other positions may not be well informed or up to date on the topic.

• A conclusion that does not simply restate the thesis, but readdresses it in light of the evidence provided.

It is at this point of the essay that students may begin to struggle. This is the portion of the essay that will leave the most immediate impression on the mind of the reader. Therefore, it must be effective and logical. Do not introduce any new information into the conclusion; rather, synthesize the information presented in the body of the essay. Restate why the topic is important, review the main points, and review your thesis. You may also want to include a short discussion of more research that should be completed in light of your work.

A complete argument

Perhaps it is helpful to think of an essay in terms of a conversation or debate with a classmate. If I were to discuss the cause of World War II and its current effect on those who lived through the tumultuous time, there would be a beginning, middle, and end to the conversation. In fact, if I were to end the argument in the middle of my second point, questions would arise concerning the current effects on those who lived through the conflict. Therefore, the argumentative essay must be complete, and logically so, leaving no doubt as to its intent or argument.

The five-paragraph essay

A common method for writing an argumentative essay is the five-paragraph approach. This is, however, by no means the only formula for writing such essays. If it sounds straightforward, that is because it is; in fact, the method consists of (a) an introductory paragraph (b) three evidentiary body paragraphs that may include discussion of opposing views and (c) a conclusion.

Longer argumentative essays

Complex issues and detailed research call for complex and detailed essays. Argumentative essays discussing a number of research sources or empirical research will most certainly be longer than five paragraphs. Authors may have to discuss the context surrounding the topic, sources of information and their credibility, as well as a number of different opinions on the issue before concluding the essay. Many of these factors will be determined by the assignment.

Microsoft 365 Life Hacks > Writing > How AI can help proofread and edit your essays

How AI can help proofread and edit your essays

Don’t let little mistakes hold you back from getting a better grade. Learn how you can use AI to help you proofread and edit your essays.

Before submitting your essay, having a second set of eyes to catch any typos or grammatical errors is invaluable. If human help isn’t available, AI can step in to proofread or edit your work, offering instant feedback even under tight deadlines . Take a look at the different ways you can use AI for essay editing.

Ask AI to help you identify typos or grammatical errors

It’s easy for the human mind to skim over obvious typos and grammar errors. AI can help you identify these spelling mistakes and grammar issues so you can put some professional polish on your paper. If you’re aware of a specific issue that you struggle with in your essays, you can ask AI to proofread specifically on those errors. Copy and paste your essay into your favorite AI platform and try one of these prompts:

• Can you identify any typos in this paper and explain why they are incorrect?
• I often put commas in the wrong place. Can you identify any incorrect commas in my essay and tell me why they’re incorrect?
• Can you help me identify any incorrect homophones in my essay?

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Ask AI to help you refine your sentences

Writing clearly is important for all forms of writing, but it’s especially important for academic works. AI can help you edit your essays so that your sentences are easy to understand. Copy and paste your essay into an AI platform and try these prompts to refine its sentences:

• Can you find passive sentences in my essay and explain how to rewrite them actively?
• My teacher is a stickler for dangling modifiers . Can you point out any dangling modifiers in my essay?
• Are there any sentence fragments in my essay?

Ask AI for style guide assistance

If your instructor has asked you to follow a specific style guide , they may deduct points if your essay doesn’t follow it. Try these prompts to get some essay editing help:

• Can you review if book titles are correctly italicized according to the Chicago Manual of Style, and check for other style-specific issues?
• My essay is supposed to follow MLA format. Can you identify any parts of my essay that don’t follow MLA format ?
• How should I format quotes in APA format ?

Ask AI to fact-check your work

AI can help you identify incorrect facts that could impact your final grade. AI can also provide sources that you can use to back up your work. Try these prompts in your preferred AI platform to fact-check your work:

• Are the biographical facts I included about Jane Austen in my essay correct?
• Can you make sure all the dates that I listed in my essay are accurate?
• Can you confirm that the citations in my essay are from peer-reviewed and reputable sources ?

Getting the best proofreading and editing results from AI

When you use AI to proofread an essay, you’ll get better results when you provide it with as much context about the essay as possible. For example, you should include your teacher’s essay instructions so that the AI tool knows what to look for. If the teacher gave you their grading rubric, you should also give it to the AI tool so that it can provide even stronger proofreading and editing recommendations.

While AI can significantly aid in proofreading and editing, remember to use it responsibly, especially in academic settings. If you’re interested in learning more about AI, see if you can use AI to draft an essay for you .

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How Beyoncé Fits Into the Storied Legacy of Black Country

Randall is an award-winning professor, songwriter, and author of My Black Country: A Journey Through Country Music's Black Past, Present, and Future

O n March 16, 1983, the Country Music Association (CMA) celebrated its 25th anniversary, and I was invited. Buddy Killen, the song publisher who pitched “Heartbreak Hotel” to Elvis Presley, thought “the Black girl from Harvard” might just be the second coming of that hit’s songwriter, Mae Boren Axton. He put me on the guest list and paid for the tickets.

It was a complicated night. The event was held at the DAR Constitution Hall, built by the Daughters of the American Revolution, an infamous venue whose management had refused to allow Black opera star Marian Anderson to perform on its stage in 1939. I took special pleasure in seeing guitarist and singer Charley Pride stride onto that stage—in a building named to honor the U.S. Constitution, but run to exclude Black artists—and stake his claim as part of that “We the People” that document claims to represent.

At one point in the ceremony, singer Roy Acuff announced that “country music is a family.” Then he proclaimed Jimmie Rodgers “the father” of that family. But he did not mention Lil Hardin Armstrong, the pianist who played on Rodgers’ hit “Blue Yodel No. 9.” Acuff nodded to Will Rogers, the comedian, but shamelessly omitted DeFord Bailey , the Grand Ole Opry’s first superstar.

My idea to name and spotlight the First Family of Black Country was conceived in that moment. It was nurtured in the silence of missing names. Quiet as it was being kept, country had Black founders. I knew it; Buddy Killen, who arrived in Nashville playing bass for a blackface comedy act on the Grand Ole Opry, knew it; Roy Acuff, who had played on stages with Bailey, Ray Charles, and Pride, knew it. And more than four decades later, Beyoncé knew it when she broke the internet on Super Bowl Sunday by surprise—releasing two country songs and announcing an album, Cowboy Carter , which has her devoted fans in the Beyhive buzzing about line-dancing into the summer of country.

Read More: Beyoncé Has Always Been Country

That evening back in 1983 was constructed to be country’s coming-out party as a musical genre worthy of exceptional respect because it was a reflection and celebration of America at its best. And that best was being defined as a family having only white founders—and not a single Black woman in sight. It was a fallacy that could only last so long.  

The way I see it, modern Black country was born on Dec. 10, 1927, when Bailey, descended from enslaved Tennesseans, lifted his harmonica to play “Pan American Blues” on the Nashville radio show Barn Dance. Fast forward to July 16, 1930, in Los Angeles, where Armstrong made country music history as the first Black woman to play on a hillbilly record that sold a million copies. And Lil didn’t just play on the session—her piano drove the session.

Country is not as many have posited: a genre with Black influence but without Black presence. Black women have been present since the earliest days of country’s existence as a recorded and commercially marketed music form. But a custom of cultural redlining has not only kept Black women out of country writing rooms, off country airwaves, off rodeo stages, off the country charts; it has also worked to keep the few Black women who managed to evade the gatekeepers off the entertainment pages, and out of the history books.

This would change. Nobody sitting in the room that night knew it, but there was a little girl toddling around a two-story house in Houston who would bring the long era of -erasing Black country sounds and stories to an abrupt end. The calculated erasure that began at one large public party with expensive tickets in 1983 ended during another, Super Bowl LVIII, when Beyoncé released “Texas Hold ’Em” and “16 Carriages.”

Along with “Daddy Lessons” off of 2016’s Lemonade, these songs have established Beyoncé as heir to a Black country musical tradition that dates back to the 17th century, when the first banjo was strummed by Black hands on American soil. Like DeFord Bailey’s, Beyoncé’s country songs are grounded in aural rural realities: the screech of the passing train, the sound from the local bar where folk are dancing. Like Lil, she understands the power of a costume and a trumpet. Like Ray Charles she brings a whiff of the Black cosmopolitan. Like Charley Pride she exudes a radiant Old Testament Song of Songs sexuality that is at once hot and holy. Like Herb Jeffries she embodies the cowboy who stays close to nature and guns.

The erasure did not end just because Beyoncé Knowles Carter became the first Black female artist to top the country charts, though she did that, on Feb. 24. And there are many others who have laid the groundwork for this catalytic moment: Linda Martell, the Pointer Sisters, Rissi Palmer, Rhiannon Giddens, Mickey Guyton, Brittney Spencer, Reyna Roberts, and O.N.E the Duo, to name just a few.

The erasure ended when she started a sustained national conversation, getting America to talk about and celebrate neglected Black country legacy. The question of “Who can be in country music?” often masks a deeper query about “Who can be a real American?” Beyoncé’s was a loud announcement of a reality long denied, that she was “We the People.” And so were people who looked like her.

I’ve often said that country music is three chords and four truths: life is hard, God is real, whiskey and roads and family provide worthy compensations, and the past is better than the present. That last truth is one of the places where country often experiences a racial split. In much of white country, the past that is better than the present exists in a longed-for and lost mythical Dixie. In Black country, the past that is better than the present exists in a longed-for and lost Africa before colonization.

Country music is commonly defined as American folk music with Celtic, African, and evangelical Christian influences. My ancestors come from Cameroon, Nigeria, and Mali, from Scotland, England, and Ireland. I am country music, embodied. I started songwriting sitting under a Motown cherry tree, about the age of 5, in 1964. I would eat candied cherries, watching a sea of cars flow by on the John C. Lodge Freeway, and let country songs—from my grandmother’s lips, my mother’s radio, my aunt’s -stereo—roll ’round my head. I started off singing other people’s words then one day I started singing my own, the auspicious beginnings of a career that would land me in the top spot on the country charts.

Read More: Black Artists Helped Build Country Music—And Then It Left Them Behind

My daddy hipped me to the fact that it was Lil Hardin on Jimmie Rodgers’ biggest hit, and that there were probably a lot more Black folks passing for white on country records. He would look at some sheet music or hymnal, then ask, “What you bet Traditional was a colored girl?” 

I write country music because it is a way to make what is too hard to bear somehow bearable. Beyoncé in “Texas Hold ’Em” does this same work, squaring off against tornadoes, heat waves, and lovers losing courage, as DeFord had squared off against a sense of being relentlessly pursued in “Fox Chase.” Both songs transform hardship into a particular flavor of playful and hopeful joy I recognize as country.   

To close out the CMA anniversary show, Ray Charles sang “America the Beautiful.” Listening to the man behind what has been called the greatest country album, 1962’s Modern Sounds in Country and Western Music, it struck me how entwined he was in the legacy of Black country. This was Armstrong and Bailey’s genius child. Next to him was country-as-corn-bread Pride, a spiritual love child to Bailey. On the other side of the family tree, Herb Jeffries, who wasn’t present in the auditorium but should have been, was Armstrong’s stepchild. 

Among a sea of white people, including the President and Vice President of the U.S. and the presidents of every major country-music label, I had an inkling I was the only person in that room worried about singing Black cowboys, worried about Jeffries, wondering why he wasn’t there.

Now Beyoncé has changed that room entirely. Cowboy Carter is poised to be a brilliant new beginning and a culmination. As I see it, Beyoncé is the genius child of Ray Charles. The daughter who eclipses the father. The reflected light of her triumph makes visible both the lineage from which she aesthetically descends and the reality that Black country is a big tent with many entry points: from banjos, harmonicas, and cowboy songs to movies and Motown cherry trees. Beyoncé raises this question: If country owes a significant debt to Black culture, what in America doesn’t?

Adapted from My Black Country: A Journey Through Country Music’s Black Past, Present, and Future . Copyright © 2024 by Alice Randall. Reprinted by permission of Black Privilege Publishing, an imprint of Simon & Schuster, LLC.

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