When you read for pleasure, your only goal is enjoyment. You might find yourself reading to get caught up in an exciting story, to learn about an interesting time or place, or just to pass time. Maybe you’re looking for inspiration, guidance, or a reflection of your own life. There are as many different, valid ways of reading a book as there are books in the world.
When you read a work of literature in an English class, however, you’re being asked to read in a special way: you’re being asked to perform literary analysis. To analyze something means to break it down into smaller parts and then examine how those parts work, both individually and together. Literary analysis involves examining all the parts of a novel, play, short story, or poem—elements such as character, setting, tone, and imagery—and thinking about how the author uses those elements to create certain effects.
A literary essay isn’t a book review: you’re not being asked whether or not you liked a book or whether you’d recommend it to another reader. A literary essay also isn’t like the kind of book report you wrote when you were younger, where your teacher wanted you to summarize the book’s action. A high school- or college-level literary essay asks, “How does this piece of literature actually work?” “How does it do what it does?” and, “Why might the author have made the choices he or she did?”
No one is born knowing how to analyze literature; it’s a skill you learn and a process you can master. As you gain more practice with this kind of thinking and writing, you’ll be able to craft a method that works best for you. But until then, here are seven basic steps to writing a well-constructed literary essay:
When you’re assigned a literary essay in class, your teacher will often provide you with a list of writing prompts. Lucky you! Now all you have to do is choose one. Do yourself a favor and pick a topic that interests you. You’ll have a much better (not to mention easier) time if you start off with something you enjoy thinking about. If you are asked to come up with a topic by yourself, though, you might start to feel a little panicked. Maybe you have too many ideas—or none at all. Don’t worry. Take a deep breath and start by asking yourself these questions:
What struck you? Did a particular image, line, or scene linger in your mind for a long time? If it fascinated you, chances are you can draw on it to write a fascinating essay.
What confused you? Maybe you were surprised to see a character act in a certain way, or maybe you didn’t understand why the book ended the way it did. Confusing moments in a work of literature are like a loose thread in a sweater: if you pull on it, you can unravel the entire thing. Ask yourself why the author chose to write about that character or scene the way he or she did and you might tap into some important insights about the work as a whole.
Did you notice any patterns? Is there a phrase that the main character uses constantly or an image that repeats throughout the book? If you can figure out how that pattern weaves through the work and what the significance of that pattern is, you’ve almost got your entire essay mapped out.
Did you notice any contradictions or ironies? Great works of literature are complex; great literary essays recognize and explain those complexities. Maybe the title Happy Days totally disagrees with the book’s subject matter (hungry orphans dying in the woods). Maybe the main character acts one way around his family and a completely different way around his friends and associates. If you can find a way to explain a work’s contradictory elements, you’ve got the seeds of a great essay.
At this point, you don’t need to know exactly what you’re going to say about your topic; you just need a place to begin your exploration. You can help direct your reading and brainstorming by formulating your topic as a question, which you’ll then try to answer in your essay. The best questions invite critical debates and discussions, not just a rehashing of the summary. Remember, you’re looking for something you can prove or argue based on evidence you find in the text. Finally, remember to keep the scope of your question in mind: is this a topic you can adequately address within the word or page limit you’ve been given? Conversely, is this a topic big enough to fill the required length?
“Are Romeo and Juliet’s parents responsible for the deaths of their children?”
“Why do pigs keep showing up in Lord of the Flies ?”
“Are Dr. Frankenstein and his monster alike? How?”
“What happens to Scout in To Kill a Mockingbird ?”
“What do the other characters in Julius Caesar think about Caesar?”
“How does Hester Prynne in The Scarlet Letter remind me of my sister?”
Once you know what question you want to answer, it’s time to scour the book for things that will help you answer the question. Don’t worry if you don’t know what you want to say yet—right now you’re just collecting ideas and material and letting it all percolate. Keep track of passages, symbols, images, or scenes that deal with your topic. Eventually, you’ll start making connections between these examples and your thesis will emerge.
Here’s a brief summary of the various parts that compose each and every work of literature. These are the elements that you will analyze in your essay, and which you will offer as evidence to support your arguments. For more on the parts of literary works, see the Glossary of Literary Terms at the end of this section.
These are the whats of the work—what happens, where it happens, and to whom it happens.
These are the hows—how the characters speak, how the story is constructed, and how language is used throughout the work.
When you’ve examined all the evidence you’ve collected and know how you want to answer the question, it’s time to write your thesis statement. A thesis is a claim about a work of literature that needs to be supported by evidence and arguments. The thesis statement is the heart of the literary essay, and the bulk of your paper will be spent trying to prove this claim. A good thesis will be:
Question: In Romeo and Juliet , which is more powerful in shaping the lovers’ story: fate or foolishness?
Thesis: “Though Shakespeare defines Romeo and Juliet as ‘star- crossed lovers’ and images of stars and planets appear throughout the play, a closer examination of that celestial imagery reveals that the stars are merely witnesses to the characters’ foolish activities and not the causes themselves.”
Question: How does the bell jar function as a symbol in Sylvia Plath’s The Bell Jar ?
Thesis: “A bell jar is a bell-shaped glass that has three basic uses: to hold a specimen for observation, to contain gases, and to maintain a vacuum. The bell jar appears in each of these capacities in The Bell Jar, Plath’s semi-autobiographical novel, and each appearance marks a different stage in Esther’s mental breakdown.”
Question: Would Piggy in The Lord of the Flies make a good island leader if he were given the chance?
Thesis: “Though the intelligent, rational, and innovative Piggy has the mental characteristics of a good leader, he ultimately lacks the social skills necessary to be an effective one. Golding emphasizes this point by giving Piggy a foil in the charismatic Jack, whose magnetic personality allows him to capture and wield power effectively, if not always wisely.”
The reasons and examples that support your thesis will form the middle paragraphs of your essay. Since you can’t really write your thesis statement until you know how you’ll structure your argument, you’ll probably end up working on steps 3 and 4 at the same time.
There’s no single method of argumentation that will work in every context. One essay prompt might ask you to compare and contrast two characters, while another asks you to trace an image through a given work of literature. These questions require different kinds of answers and therefore different kinds of arguments. Below, we’ll discuss three common kinds of essay prompts and some strategies for constructing a solid, well-argued case.
Compare and contrast
Compare and contrast the characters of Huck and Jim in The Adventures of Huckleberry Finn.
Chances are you’ve written this kind of essay before. In an academic literary context, you’ll organize your arguments the same way you would in any other class. You can either go subject by subject or point by point. In the former, you’ll discuss one character first and then the second. In the latter, you’ll choose several traits (attitude toward life, social status, images and metaphors associated with the character) and devote a paragraph to each. You may want to use a mix of these two approaches—for example, you may want to spend a paragraph apiece broadly sketching Huck’s and Jim’s personalities before transitioning into a paragraph or two that describes a few key points of comparison. This can be a highly effective strategy if you want to make a counterintuitive argument—that, despite seeming to be totally different, the two objects being compared are actually similar in a very important way (or vice versa). Remember that your essay should reveal something fresh or unexpected about the text, so think beyond the obvious parallels and differences.
Choose an image—for example, birds, knives, or eyes—and trace that image throughout Macbeth.
Sounds pretty easy, right? All you need to do is read the play, underline every appearance of a knife in Macbeth, and then list them in your essay in the order they appear, right? Well, not exactly. Your teacher doesn’t want a simple catalog of examples. He or she wants to see you make connections between those examples—that’s the difference between summarizing and analyzing. In the Macbeth example above, think about the different contexts in which knives appear in the play and to what effect. In Macbeth, there are real knives and imagined knives; knives that kill and knives that simply threaten. Categorize and classify your examples to give them some order. Finally, always keep the overall effect in mind. After you choose and analyze your examples, you should come to some greater understanding about the work, as well as your chosen image, symbol, or phrase’s role in developing the major themes and stylistic strategies of that work.
Is the society depicted in 1984 good for its citizens?
In this kind of essay, you’re being asked to debate a moral, ethical, or aesthetic issue regarding the work. You might be asked to judge a character or group of characters ( Is Caesar responsible for his own demise?) or the work itself ( Is Jane Eyre a feminist novel?). For this kind of essay, there are two important points to keep in mind. First, don’t simply base your arguments on your personal feelings and reactions. Every literary essay expects you to read and analyze the work, so search for evidence in the text. What do characters in 1984 have to say about the government of Oceania? What images does Orwell use that might give you a hint about his attitude toward the government? As in any debate, you also need to make sure that you define all the necessary terms before you begin to argue your case. What does it mean to be a “good” society? What makes a novel “feminist”? You should define your terms right up front, in the first paragraph after your introduction.
Second, remember that strong literary essays make contrary and surprising arguments. Try to think outside the box. In the 1984 example above, it seems like the obvious answer would be no, the totalitarian society depicted in Orwell’s novel is not good for its citizens. But can you think of any arguments for the opposite side? Even if your final assertion is that the novel depicts a cruel, repressive, and therefore harmful society, acknowledging and responding to the counterargument will strengthen your overall case.
Your introduction sets up the entire essay. It’s where you present your topic and articulate the particular issues and questions you’ll be addressing. It’s also where you, as the writer, introduce yourself to your readers. A persuasive literary essay immediately establishes its writer as a knowledgeable, authoritative figure.
An introduction can vary in length depending on the overall length of the essay, but in a traditional five-paragraph essay it should be no longer than one paragraph. However long it is, your introduction needs to:
Your introduction should not:
Once you’ve written your introduction, you’ll take the arguments you developed in step 4 and turn them into your body paragraphs. The organization of this middle section of your essay will largely be determined by the argumentative strategy you use, but no matter how you arrange your thoughts, your body paragraphs need to do the following:
Just as you used the introduction to ground your readers in the topic before providing your thesis, you’ll use the conclusion to quickly summarize the specifics learned thus far and then hint at the broader implications of your topic. A good conclusion will:
The entity that acts to frustrate the goals of the protagonist. The antagonist is usually another character but may also be a non-human force.
antihero / antiheroine
A protagonist who is not admirable or who challenges notions of what should be considered admirable.
A person, animal, or any other thing with a personality that appears in a narrative.
The moment of greatest intensity in a text or the major turning point in the plot.
The central struggle that moves the plot forward. The con ict can be the protagonist’s struggle against fate, nature, society, or another person.
first-person point of view
A literary style in which the narrator tells the story from his or her own point of view and refers to himself or herself as “I.” The narrator may be an active participant in the story or just an observer.
hero / heroine
The principal character in a literary work or narrative.
Language that brings to mind sense-impressions, representing things that can be seen, smelled, heard, tasted, or touched.
A recurring idea, structure, contrast, or device that develops or informs the major themes of a work of literature.
The person (sometimes a character) who tells a story; the voice assumed by the writer. The narrator and the author of the work of literature are not the same person.
The arrangement of the events in a story, including the sequence in which they are told, the relative emphasis they are given, and the causal connections between events.
point of view
The perspective that a narrative takes toward the events it describes.
The main character around whom the story revolves.
The location of a narrative in time and space. Setting creates mood or atmosphere.
A secondary plot that is of less importance to the overall story but may serve as a point of contrast or comparison to the main plot.
An object, character, figure, or color that is used to represent an abstract idea or concept. Unlike an emblem, a symbol may have different meanings in different contexts.
The way the words in a piece of writing are put together to form lines, phrases, or clauses; the basic structure of a piece of writing.
A fundamental and universal idea explored in a literary work.
The author’s attitude toward the subject or characters of a story or poem or toward the reader.
An author’s individual way of using language to re ect his or her own personality and attitudes. An author communicates voice through tone, diction, and syntax.