essay about review interesting place

Descriptive Essay

Descriptive Essay About A Place

Writing a Descriptive Essay About A Place - Guide With Examples

Understanding Descriptive Essays

A descriptive essay is a type of writing that aims to describe and portray an object, person, or place. The essay typically includes sensory details to help the reader imagine its contents more vividly. Descriptive essays can be written about a person , place, or other themes like nature , autumn , food , or even yourself .

A descriptive essay about a place should provide enough details for the reader to build a mental image of it. To do this, you need to include vivid descriptions and relevant information that could paint a picture in their minds.

Let's read some examples to see what a good descriptive essay looks like.

Examples of Descriptive Essay About Any Place

Here are some descriptive writing about a place examples:

Example of a Descriptive Essay About a Place

Descriptive Essay About a Place You Visited

Descriptive Essay About a Place Called Home

Descriptive Essay About a Place You Loved as a Child

Descriptive Essay About a Place of Interest I Visited

Descriptive Essay About a Favorite Place

Do you need more sample essays? Check out more descriptive essay examples t o get inspired.

Tips for Writing an Excellent Descriptive Essay About A Place

Now that you've read some examples of descriptive essays about places, it's time to learn how to write one yourself. Here are some tips on writing a great essay:

Choose The Right Topic

The topic of your essay should be something that you have a strong connection to or feeling about. It could be a place you've visited recently or a place from your childhood. Moreover, make sure that it's something that you can write about in enough detail to make your essay interesting.

Check out this blog with 100+ descriptive essay topics to get your creative juices flowing.

Gather Information

Gather as much information as possible about the topic of your essay. This will help you craft vivid descriptions and portray an accurate picture for your readers. Gather your observations, research online, and talk to people who have visited the place you're writing about.

Make sure to research the topic thoroughly so you can provide accurate and detailed descriptions. Read up as much as you can about the history of the place, and any interesting facts or stories about it.

Structure Your Essay

Outline your descriptive essay before beginning to write so all points flow logically from one to another throughout the entire piece.

Make sure to include a strong introduction and conclusion, as well as several body paragraphs that help support your main points.

Include Sensory Details

Use sensory language by including details such as sights, smells, tastes, sounds, etc. This helps to engage readers and transport them into the setting of your essay.

When writing a descriptive essay, make sure to include vivid descriptions that involve all five senses. This will help create a more engaging and immersive experience for your readers.

Use Vivid Language

Make sure to use strong and powerful words when describing the place you're writing about. Use metaphors and similes to bring your descriptions to life and make them more interesting for readers.

Proofread Your Essay

Proofreading is an important step in any writing process, especially when it comes to descriptive essays. Make sure to check for any typos or spelling errors that may have slipped through in your writing.

You also need to make sure that the flow of your essay is logical and coherent. Check if you've used a consistent point of view throughout, and make sure that all ideas are well-supported with evidence.

Follow these tips and examples, and you'll be well on your way to writing a great descriptive essay.

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Writing the Perfect Destination Review

As a follow up to her earlier guest article…..

“ Writing The Perfect Lodging Review “,

…well-known professional travel writer and Uptake Lodging Editor Nancy D. Brown takes a break from her perpetual traveling to share with us more of her sage advice on writing travel reviews.

Here are her tips on writing that perfect destination review :

Set the Hook – Draw the Reader In

“As the train pulled into the station, it appeared strangely quiet in Bordeaux, France. Grabbing our backpacks, we walked into town to secure lodging for the night. After numerous rejections from French pensions, we turned our attention toward food. Certainly we could find a room at an Inn serving local wine country cuisine, right?”

The above paragraph is from an article I wrote for Diablo magazine about how food relates to travel .

The introduction to the article is an example of a nut graf ; which is editorial slang for defining the news value in a story. The descriptive lede ( yes, more journalism speak ) is meant to draw the reader into the story . Ideally, your lede should paint a picture for the reader; draw them in and, set the hook, so to speak.

This is a much better approach to writing a vacation destination review than, “Our train stopped in Bordeaux, France. We went to look for lodging. We couldn’t find any restaurants that were open.”

Vacation Destination as Service Piece

Service pieces, such as “Insider Tips” or “Things to See and Do” for specific travel destinations, are meant as informational articles for the reader. Similar to writing a lodging review, it is vital to include the five Ws : Who, What, When, Where, Why ( and, whenever possible, how much ) as those are the typical questions a reader needs answered before determining their vacation destination.

“The first place I take a visitor from out of town is to the Tony Knowles Coastal Trail, amazing trails right in downtown with views of mountain ranges, and the waters of Cook Inlet, and along the trail Earthquake Park.”
“When I crave a local brewpub I turn to Glacier BrewHouse, FireTap Alehouse or Snow Goose Restaurant, where I can dine on local favorites like the fresh catch of the day, a wood-fired pizza, and wash it all down with a local microbrew.”
“To escape work I head for the trails the wind through Anchorage Parks and greenbelts for a run, a bike, or a quick cross-country ski.”

The above “Insider Tips” were taken from a post I wrote on the “ Best Things to See and Do in Anchorage, Alaska “, for my “ What a Trip ” blog.

Convention & Visitor Bureaus and PR Professionals as Partners

As a public relations professional and travel writer, I work both sides of the media fence. As a PR pro, part of my job is to provide information about my clients to members of the media. As a working journalist, I LOVE working with professional PR folks.

As Lisa Gerber of Big Leap Creative says in her article Why I Fired A Travel Writer , “You have an editor and/or a readership that you answer to, and I have a client that I answer to. Mutual understanding of our respective business models gets us so much more out of life.”

In fact, many of my “Insider Tips” columns are written in conjunction with public relations pros and Convention and Visitor Bureau (CVB) PRs. It is mutually beneficial to understand how to work with travel writers and bloggers and PR pros .

Position Yourself as a Vacation Destination Review Expert

Case in point, I was asked by the Chicago Tribune to write a service piece on “ How to Watch the Iditarod Sled Dog Race ” while visiting Alaska. The travel editor found me online through one of the many vacation destination reviews I had written about Alaska.

I had successfully positioned myself as an expert in the field.

Be a Destination Review Expert in Your Backyard

If you are new to travel writing or travel blogging, I strongly suggest you toil in your own vineyard, initially. After all, who is more qualified to write a vacation destination review on your hometown? Establish yourself as a local expert , write a column for your local newspaper and then venture outside the box to wider ranging vacation destination venues.

Select Your Travel Writing Style

Your travel writing style will depend on the publication or editorial outlet where your vacation destination review will appear.

In newspapers and magazine, articles are typically written in third person. Quotes from outside sources are important to bring credibility and differing perspectives to your article.

First person perspective is more commonly found when writing for travel blogs. Entire vacation destination reviews are often written from the travel blogger’s point of view.

What type of travel writing speaks to you? Select some of your favorite travel writers and publications and craft your vacation destination reviews in a similar fashion.

Eventually, you will find your own voice and writing style that fits your personality.

Do you write destination reviews? Share your tips!

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Improve Your Writing
Nancy D. Brown
Travel Blogging
Travel Writing

Nancy Brown is a lover of all things travel-related. She has combined her passion for travel with her professional writing career.

Nancy writes a travel column, “ What a Trip ” for the Contra Costa Times Lamorinda Sun, a publication of Media News Group. She is the Lodging Editor for Uptake.com. She writes an on-line travel column for Diablo magazine and the "Traveler Making a Difference" column for Escapes magazine.

Horse lovers will find her on the Writing Horseback blog. She is a BootsnAll Insider for California and has contributed to InsideBayArea, Uptake.com and Write to Travel blogs. She is a member of Bay Area Travel Writers (BATW), BlogHer , Matador and Travelwriters.com . She also owns a public relations consulting business.

10 comments.

Great tips, Nancy!

Thanks, Christy. What are your tips on writing the Perfect Destination Review?

I think you pretty much covered the main points. I like how you pointed out how the first paragraph needs to draw the reader into the story. This point is often overlooked by writers, but it’s definitely worth the time and effort.

Since it is important to me personally, I also include if a place is kid-friendly (and how), and about the disability access. Not everyone wants to know this, but many people do.

Great article!

Great points, Jessie! A lot of folks would also be interested in pet-friendly destinations.

Hi Nancy: I like this post. It is like Travel Writing 101, brief but concise.

As a journalist, I can’t emphasize the need for a nut graf – as it functions like a thesis statement. It keeps your writing focused and tight.

Thanks for tips, especially for 5 Ws.

Great tips and very useful. It sounds pretty much like writing news when providing information. Tricky part is keeping your write up lively and enticing to the readers.

Thanks for the positive feed back everyone!

Thanks for such wonderful tips! I dont have a travel site but I think this could be used in any type of copy. Wonderful post.

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How to Write a Descriptive Essay about a Place

If you’re not sure what exactly a descriptive essay is and how to write one, you’ve come to the right place. I’m Tutor Phil, and in this tutorial I’ll explain how a descriptive essay works and how to write it, step by step.

We’ll write one together, so you’ll have a great example of a descriptive essay.

What Is a Descriptive Essay?

A descriptive essay is a piece of writing in which the author describes a place, a person, an object, an animal, or a process. The purpose of a descriptive essay is to move the reader to some kind of a revelation, conclusion, or decision about the subject.

It is very important to note that a descriptive essay is not an argumentative essay. You’re not presenting an argument and doing whatever it takes to support it.

In a descriptive essay, your intention should be to describe the subject in such a way that the reader would create her own impression of it.

At the same time, your essay is not neutral because it is colored by your own perception or experience of the subject.

In other words, you are implying and suggesting, not blatantly pushing an opinion.

You want to let the reader see, hear, touch, smell, and taste the place you’re describing. And that experience should lead the reader to an appropriate impression or conclusion.

Writing a Descriptive Essay Is a 6-Step Process

Step 1. choose the subject.

Maybe your instructor has already chosen the subject for you. If not, choose a country, city, or a place within a city or a geographical location that you are familiar with.

Ideally, it is a place that you have been to and have a good memory of it. A descriptive essay about a place should not rely solely on research, in most cases.

The real value of your essay is that you know that place, and perhaps it has a special meaning for you or evokes feelings that no other place can evoke.

So, unless you have to write about a specific place where you have never been, choose a location that has a special place in your heart.

Sometimes, your subject can be a place with which you may have negative associations. But most likely, it is a beloved place that has left an indelible impression on your heart and mind.

Criteria for choosing the place

Ideally, this place should be dear to your heart
It is unique. It is unlike any other place you’ve ever been to, in at least one or two important ways
It has left a strong impression on you
Perhaps you learned something there
Perhaps something wonderful happened to you there, such as meeting your soulmate or discovering something about yourself
Ideally, it has special visual qualities that stand out in contrast to what your audience is probably used to. In other words, being visually striking is a huge plus.

I’ll give you an example. For me, one particular little spa town in Europe won me over when I first visited it many years ago. Its name is Carlsbad, or Karlovy Vary. The terms are interchangeable. One is of German origin, and the other is native Czech.

It is located in the western part of Czech Republic, not too far from the German border. It is serene, spectacular, and magical, and I’ll choose it as the subject for our sample descriptive essay.

By the way, Carlsbad, California was named after Karlovy Vary because of the similar mineral content of the underground waters found in the American cousin city.

Step 2. Pick an audience

I understand that you’re probably writing this essay to fulfill a requirement for your class. In which case, your audience is your teacher or professor.

But even if you’re writing for your instructor, you should still have a particular audience in mind because this will help you form ideas and keep your thoughts flowing.

Knowing your audience will inform your choices of what to include and what to exclude in your descriptive essay because your reader may care about some aspects of this place but not others.

Criteria for choosing an audience

Your ideal reader is someone who is most likely to be interested in this place
It is someone who is likely to enjoy reading your essay
Your ideal audience is also someone who will benefit from reading about this place and derive the most value from it

Let’s come back to our example of Karlovy Vary. As I already mentioned, it is a spa town, which means that its attractiveness lies in its therapeutic qualities.

I first visited this gem of a town back in 2004 as a result of a real academic and professional burnout. I believe I was still an undergraduate student finishing up my studies, and I also had a stressful job.

I lived in Brooklyn, which is a borough of New York City, and this metropolis is known for its stressful lifestyle.

New York has all the disadvantages of living in a large city, such as pollution and other stressors that can really suck the life energy out of its dwellers if they are not careful.

I lived in New York for 25 years, and I love this city. I don’t want to come across as totally negative about it.

But focusing on the negatives about my city in this case will help you see how I am choosing the audience for this essay we’ll be writing together in this tutorial.

You see, New York City is a direct opposite of Karlovy Vary in several critical ways.

Establishing a contrast helps define an audience

New York is noisy. Drivers here are notorious for incessant horn honking. And you can hear an ambulance or a police siren probably every 15 minutes or so.

Conversely, Karlovy Vary is super quiet. Such a crazy hustle and bustle doesn’t exist here, and drivers don’t have a reason to honk the horn all the time. It is also very rare to hear a police or an ambulance siren.

Air quality in New York is decent for a big city, but it is still relatively polluted . All the millions of cars and trucks produce way too much carbon dioxide. You can actually see the smog from some vantage points.

The air in Karlovy Vary is virtually pristine. The town is surrounded by hills, and car traffic is not allowed in the city center.

The landscape in New York is a bit monotonous and often fails to inspire. They don’t call this city “a concrete jungle” for nothing. The overall atmosphere is hardly conducive to a great mood or daily inspiration.

Conversely, Karlovy Vary offers aesthetically pleasing, relaxing, and inspiring architecture and landscape. It’s like entering a spa, only the spa is a whole town.

Now that we have this contrast, it is easy to see who might be interested in learning more about Karlovy Vary. Our ideal audience is someone who:

Lives in a big metropolis, such as NYC or another big city
Can relate to being excessively stressed out
Is aware of noise and air pollution
Would love an escape to relax and renew, even if only by reading an essay.

So, our essay becomes a sort of a virtual or a fantasy escape until an actual trip becomes possible.

Your audience might have different challenges, needs, and desires. It could be someone who:

Is nostalgic about their childhood and a place associated with it
Dreams about a perfect place to live and work
Plans a retirement location

Think of these factors when determining your audience. In the meantime, because we’ve already identified our ideal reader – a stressed out urban dweller – we can move on to the next step.

Step 3. Divide the subject into subtopics

No matter what kind of an essay you’re writing, you want to divide the main topic into subtopics. In other words, you want to create some kind of a structure that will consist of parts.

I use and teach my students to use the technique I call the Power of Three.

What this means is that instead of having just one big topic, such as one town, we can have three aspects of this town to discuss.

Incidentally, we already talked about three major differences between NYC and Karlovy Vary. These are noise levels, air quality, and landscape. So, perhaps we can use one or more of these aspects of a city as sections of our essay.

We must keep in mind that we’re not writing a comparative essay , although that’s a possibility, too.

We’re writing a descriptive essay. So, we need to find three aspects of the town that we can discuss one after another to put together a rich and detailed enough picture of this place.

Note that these three aspects correspond to the senses of hearing, smell, and sight.

Let’s make a preliminary list of such aspects of Karlovy Vary:

Quietness. Does this aspect present an interesting description opportunity? This will depend on our ability to turn it into an asset.
Air quality. This may be too specific. We may want to zoom out a little and discuss more than one natural asset of this city. Some of the others include water quality and the industries associated with it.
Landscape. This is the most conspicuous aspect of this city. The first thing you’re struck with is how beautiful this place really is. This one is definitely a winner.

If we go about writing about these three aspects of Karlovy Vary creatively, we will have three nice sections or paragraphs that will form the body of our essay.

Note that we’ll probably use more than one sensory perception, such as sight or smell, in each section. We’ll simply use one of three senses as a primary focus in each of our three sections.

It would make sense to begin the discussion of the city by describing it visually. So, this will be our primary focus in the first section.

Then, we can proceed to the sense of hearing. Why? Because our last section will be about air and water. And we should probably leave those for last because we can hear the water before we can taste it. That’s just the way it works in Karlovy Vary.

So, the primary sense perception in our second section will be hearing. And this section won’t be just about how quiet it is.

In fact, the real contrast between a big city and Karlovy Vary is the quality of the soundscape, not just the simple quietness, although it’s a part of it. So, we’ll focus on all the little sounds that make this place unique.

Finally, in the third section or paragraph, we’ll talk about the air and the water, which will correspond to the senses of smell and taste, primarily.

Again, we’ll be using any sense perceptions we feel necessary to make the reader’s experience as real as possible.

And now we have our place, we know our audience, and we have our three main ideas about this place that we’ll use to structure the essay.

We can begin writing, and we’ll start with the opening paragraph.

Step 4. Write the introduction

An introductory paragraph in a descriptive essay offers you a lot of flexibility in how you choose to write it.

You can start off with a particular example of a sense perception, drop your reader in the middle of a town square, or begin with an abstract concept.

I would like to suggest an easy and practical way to do it. In the first sentence or two, pull your reader from the outside world into this particular magical place you’ve chosen to write about.

Then, focus on the place you want to describe and say something general about it that would set the context or provide a perspective.

And finally, set some kind of an expectation for what’s to follow. You can create a sense of mystery, if you like. Remember, this is not an argumentative essay. So, you have more room for creativity.

This is where we begin to put together our descriptive essay example. Let’s write our introductory paragraph.

Descriptive Essay Introduction

“When the city has worn you down, the body is tired, and the soul yearns for a respite, you can count on a little magic gem of a town that will nourish you back to life. The name of the place is Karlovy Vary, and it is nested in the heart of Europe, in Western Bohemia, a region in Czech Republic famous for its spa towns. Its beautiful architecture, therapeutic landscape, clean air, and mineral waters offer the weary a healing adventure and a feast for the senses.”

What have we done in this paragraph?

We’ve pulled the reader into the world of this small spa town. We first descended in their world of the stressful city, and then we turned their attention to its opposite. We named the town and explained where it is located.

And finally, we provided a glimpse of what to expect in this descriptive essay about this town. Now, we’re ready to write the body of the essay.

Step 5. Write the body of the essay

We know our three main sections, which in this case correspond to three sense perceptions. Each section can have more than one paragraph. It all depends on how long your essay has to be.

If you are writing an essay of about 500-600 words, then a five-paragraph structure will do the job. If you need to write 2000 words or more, then you’ll have three sections instead of just three paragraphs.

And then each section can also be divided into two or three subsections (using the Power of Three, if you like). And each subsection can be a paragraph or more.

Just remember – the more words you need, the more dividing into subtopics you must do. The key to writing more is dividing one idea into several supporting ideas. And then you simply treat each supporting idea as a tiny essay.

If you struggle with essay writing in general or need to brush it up, I recommend you read my tutorial on essay writing for beginners . This would be a great place to turn to next.

Now, let’s write out our body paragraphs. Since there’s quite a bit to cover, we’ll probably take two paragraphs per section to get the job done.

Descriptive essay body paragraphs

“When you stay in one of the pretty little hotels in Karlovy Vary, you are likely to be descending the hills towards the hot springs every morning. No matter which part of town you live in, you’ll be greeted with a magnificent sight of little hotels and spas whose architecture has a unifying 19th century style. At the same time, each building has its own character, color, and features. The town is situated on several hills, and the hotels are lined up along about four levels.

The first level is down by the river Tepla, and these hotels are only a few because most of the downtown is occupied with hot springs colonnades where people gather and drink hot mineral water. The next three levels ascend from the springs, and you can either take the stairs or even use a funicular that will take you to the highest level to the Hotel Imperial. As you exit your hotel in the morning, you are greeted with a sight of a collection of small, three to four story buildings that look like birthday cakes. They are pink, green, blue, red, turquoise, and any color you can imagine. You suddenly realize how this variety of colors and shapes strewn over the hillsides all facing you and the city center makes your head spin and makes you feel like you’ve never felt before. Your healing has begun with landscape therapy.

As you descend the stairs to reach the hot springs, you notice the abundance of oxygen in the air because it has a subtle but distinct smell, a bit like the way air smells right before a rain. Then, as you pass by another hotel, and you’ll pass more than one, a light whiff of toast and fried eggs with bacon hits you, stirring your appetite. It is customary to drink a cup of hot mineral water before you come back to your hotel for breakfast. It is called a drinking cure.

As you keep walking towards the geyser and the springs that surround it, you notice another astonishing detail. Nobody is in a rush. Nobody has anywhere to be except right here, right now. Travelers with cute little porcelain cups stroll along without a worry in the world, taking in the sights, the smells, and the sounds of the birds chirping and singing all around. Their serenity infects you. You slow down, too. You begin to look, smell, and listen. This town has got you.

Karlovy Vary is famous for its healing mineral waters that are known to alleviate gastrointestinal issues. These waters really do have magic powers. You have your little sipping cup with you, and when you reach one of the springs, you wait for your turn to fill it up, walk off, and begin sipping. The water has a very subtle smell, but its taste is pretty strong for water. It has very high mineral content and tastes salty. Most people like the taste. Some find it too strong. But one thing is for sure – by the time you’re about half way through with your cup’s content, your digestive juices have begun to stir.

The hot springs flow out through several fountains, each with its own intricately detailed colonnade. The mineral content of water bursting out of each fountain is identical. But the temperature of the water varies from really hot to mild and comfortable. Your “spa doctor” actually prescribes which fountains to use and how much to drink. Sipping the water out of a special porcelain cup with a built-in straw-like system is a special pleasure of its own. The point is not to rush but to take about 20 minutes to empty the cup. In the meantime, you have a chance to take in the magnificent serenity that surrounds and infuses you. When you’ve drunk your water, it is time to head back to your hotel and eat breakfast. You repeat this routine three times a day for the duration of your stay. By day three, you are serenity itself. By day fourteen, you are a brand new person.”

Step 6. Write the conclusion

A conclusion in a descriptive essay is, like the introduction, more flexible than a conclusion in an argumentative essay.

You can conclude your essay in any way you really want as long as you observe one rule. Just make sure you zoom out and write in more general terms.

It is not the time to add specific details and examples. This is the time to wrap things up and end on a general note.

Your conclusion can be very short – only a couple of sentences. But you can take your space and write as much or as little as you feel like. You can always go back and trim it down or beef it up.

Let’s write our conclusion.

Our Conclusion

“Upon reading this, you may feel that this town is described as some sort of a paradise. And in a way, it is, especially if you are traveling from a big city and carrying a load of accumulated stress. But it’s not until you see, touch, smell, hear, and taste it for yourself that this European jewel will become a part of your entire being forever.”

It’s okay to be a little emotional and perhaps to even exaggerate a little in the concluding paragraph. Just notice that this one is more general than any of the body paragraphs.

It also touches upon or mentions every sense perception evoked in the body of the essay.

Your Key Takeaways

A descriptive essay is much more flexible and has a lot fewer rules than an argumentative essay.
Use the five sense perceptions – sight, smell, touch, taste, and hearing – to structure your essay.
You don’t have to organize your essay by sense perceptions. You can divide your place into sections and walk the reader through each one.
You can even structure your essay as a string of paragraphs that describe one particular walk or route, from beginning to end.
Our last body paragraph is a description of the process of drinking hot mineral water in Karlovy Vary. It is a perfect example of a description of a process, if you ever want to write that kind of an essay.
Don’t persuade but subtly suggest.
Show, don’t tell, whenever you can.

A Few Scenic Snapshots of Karlovy Vary’s Charm

I hope this was helpful. Now go ahead and write that descriptive essay about a place!

Tutor Phil is an e-learning professional who helps adult learners finish their degrees by teaching them academic writing skills.

Guide: How to write a review essay

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A review essay examines a piece of writing, a film or some other form of art, but it differs from a literary essay in a couple of key ways. A review essay is evaluative . That means that its purpose is to tell the reader whether the work is good or not and whether the work is recommended. Also, unlike a literary essay, a review essay is not written for someone who is already familiar with the work in question. The audience for a review essay is someone who is wondering whether to spend their time and money on the work reviewed. A review essay may contain more plot summary than a literary essay , but it shouldn’t give away any of the major revelations or the ending.

Read Sample Reviews

Reviews are common in journalism, and examples of reviews of everything from movies to video games to computer software and more can be found online. Reading a few reviews of films and books from major publications such as nationally known magazines or large city newspapers can be a good way to get a sense of what is expected in a review essay.

Characteristics of a Good Review Essay

A good review essay will place the work in some sort of context. For example, a good review about a movie that tells the story of traveling circus people would briefly mention other movies about traveling circus people and how this film compares with those others or how it fits into the overall picture of traveling circus people that film has presented over the years. In a literary essay, this might be the whole point of the paper, but in a review essay, it would only be a paragraph or two. The introduction or the paragraph just after the introduction is a good place for this context.

A review essay is somewhat subjective, but it still needs to have standards and examples to demonstrate its points. It needs to give some reasons that the work is good or bad and it needs to support those reasons. This will help the audience to decide whether to follow the reviewer’s advice.

Thesis Statement

A thesis statement for a review essay should make an evaluation of the film and explain why the writer has made that evaluation. Here’s an example:

“Sideshow on the Road” is a terrible movie about traveling circus people with poor acting, an implausible plot and a boring, talky script.

The body of the review would then expand on these reasons to convince the reader to avoid the film.

The review itself should use specific examples from the work to illustrate the reviewer’s point. For example, the reviewer has complained about the poor acting in the movie. To illustrate this, the reviewer might describe a scene in which a character learns a loved one has died and seems to have no reaction at all. The boring, talky script might be illustrated by explaining that the characters spend a full ten minutes arguing about whether they took a wrong turn.

Review essays may be formal or informal and may be more or less personal. Depending on the style of the review, “I” may or may not be used. More informal reviews may use humor, sarcasm and personal stories to highlight points about the work in question. Formal reviews should avoid these devices. With tone, it’s important to stay consistent. If a formal tone is chosen, it should be maintained throughout the piece, and the same is true for an informal tone.

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By SAM ANDERSON OCT. 4, 2018

NBC gave Michael Schur total freedom. So the TV impresario made a sitcom that’s also a profound work of philosophy.

The Ultimate Sitcom

H ow do hands move in heaven? Ted Danson knows. Watch him in “The Good Place,” NBC’s circle-squaring philosophical sitcom about life, death, good, evil, redemption and frozen yogurt. As Danson speaks, his hands flutter and hover in front of him like a pair of trained birds. They poke and swirl, pinch and twist. They snap suddenly ahead to accent a word as if they’re plucking a feather from a passing breeze. Danson is tall and slim — he was a basketball star growing up — and his hands are expressively large. He can move them, when he needs to, with the long-fingered languor of Michelangelo’s God reaching out to touch Adam. On the show, Danson plays an “architect” of the afterlife named Michael, a sort of immortal Willy Wonka who dresses in bright suits and bow ties. He is always flying into spasms of delight over the fascinating novelties of human culture — paper clips, suspenders, karaoke, Skee-Ball — and in one scene he gets so celestially excited that he lunges into a squat, holds his arms out in front of him and gyrates his wrists like an electric mixer on full blast. “How do you pump your fist again?” he asks. “Is this it?”

Danson is now 70, roughly twice the age he was when he started on “Cheers,” and he carries his seniority around as if it were the funniest thing in the world. In recent years, he has put together a virtuosic run of performances, including supporting roles in shows such as “Damages,” “Bored to Death” and “Fargo.” His turn on “The Good Place” seems like a culmination of this late-phase greatness: a role he was born, and then very carefully aged, to play. Although Danson still has the seductive good looks of Sam Malone, his hair has gone chalk white, and he delivers his lines with an ease so deep it looks effortless and instinctive — the kind of thing you couldn’t practice if you tried.

In May, I happened to be on the set of “The Good Place,” watching the making of an episode of Season 3, when Danson arrived. They were filming that day inside an obscenely large mansion in Beverly Hills — the kind of gaudy faux-French superpalace you would find, in fact, by Googling the words “obscenely large mansion.” Danson walked in wearing a white suit jacket, munching on a bag of snacks. All around him was chaos. Bearded men with multicolored rolls of tape hanging from their belts hauled clattering carts past extras in formal wear holding glasses of fake red wine. Danson worked his way cheerfully through the noise. He wove past the ballroom’s titanic staircase and the giant kitchen with its archipelago of separate islands and the fireplace wide enough to consume whole small trees. I was excited to watch him step in front of the camera and do what I imagined would be his automatic Ted Danson thing.

Instead, still munching his snacks, Danson slipped into one of the mansion’s back rooms. It, too, was crowded, full of people chatting and laughing, looking at their phones, watching monitors, ignoring the set’s constant calls of “shhhhhhhh.” Danson found an empty folding chair in the far corner and sat. He became very still. He started to speak softly, under his breath, whispering inaudible words into the space directly in front of him. Soon his large hands rose, poking and swirling, and then they fell, and then they rose, and then they fell. Danson was fine-tuning, move by move, the components of his next scene. He gripped the air in front of him and folded it like dough. It looked, at times, as if he were conducting his own invisible orchestra. I watched Danson do this, silently, for nearly half an hour. He may have gone on longer — he was still rehearsing, in total focus, when I had to go off and do something else.

Maybe it’s faint praise to call a show the best sitcom on TV. It’s like calling a vehicle the best horse buggy on the autobahn. Sitcoms no longer sit anywhere near the vital center of American culture. We are not a nation of families squeezing onto couches to watch can’t-miss programming. Our entertainment metabolisms have sped up and scattered in a thousand directions.

And yet the fact remains. “The Good Place” — the story of a group of recently deceased earthlings navigating the afterlife — is the best sitcom on TV. It is, in many ways, charmingly old-fashioned: a 22-minute glossy confection of family-friendly LOLs, featuring beautiful multicultural characters with perfect hair trading tightly scripted jokes as they learn life lessons. Grandchildren and grandparents could watch it together in relative comfort, laughing in heartwarming unison.

But the show is also, by network standards, quite radical. It attempts a clever gambit. The American sitcom, since its inception, has struggled with a fundamental tension at its core. Let’s call it “jester vs. guru.” We expect half-hour comedies to pull off an impossible double duty: to both inject jokes into the national bloodstream and to enlighten us with high-minded moral instruction. We want not only zany catchphrases but wise life lessons. The history of the form has been a constant tug of war between these two contradictory demands. Early sitcoms tended toward Very Special Episodes — morality plays in which we learned to honor our parents, say no to drugs and rat out even our most charming friends. The sitcoms that followed rebelled against such ham-fisted piety, replacing it with ironic cynicism. “Seinfeld” famously rejected the moral duties of the sitcom altogether; “30 Rock” was a pure fire hose of laughs. The control knob turned, further and further, from wisdom toward jokes.

“The Good Place” tries, improbably, to fulfill both functions at once. It wants to sit at both ends of the control knob simultaneously. Like any good modern comedy, the show is a direct IV of laughs, but the trick is that all of those laughs are explicitly about morality.

The premise of “The Good Place” is absurdly high concept. It sounds less like the basis of a prime-time sitcom than an experimental puppet show conducted, without a permit, on the woodsy edge of a large public park. The show’s action begins in a candy-colored heaven in which new residents are welcomed to find their perfect soul mate, an ideal home and an eternal supply of frozen yogurt. (Flavors include Double Rainbow, Four-Day Weekend, Full Cellphone Battery, Panoply of Exuberance and Beyoncé Compliments Your Hair.) There is just one problem: Eleanor Shellstrop, our foulmouthed protagonist, does not belong anywhere near any kind of paradise. Eleanor is a comically awful person — in flashbacks, we see her refusing to be a designated driver, ruining a stranger’s quinceañera and selling fake medicine to the elderly. Her arrival at the Good Place seems to be a result of some kind of existential clerical error. Eleanor is understandably reluctant to confess this, particularly when she learns about the many horrors of the Bad Place: bees with teeth, four-headed bears, volcanoes full of scorpions and — unfortunately — “butthole spiders.” Out of sheer desperation, she decides to try something drastic: to improve herself. Eleanor manages to persuade her alleged soul mate, a Senegalese professor of ethics and moral philosophy named Chidi, to teach her how to be good. “How do we do it?” she asks. “Is there a pill I can take or something I can vape?”

This is the trick of “The Good Place.” Ethics is not some kind of moralistic byproduct; it’s baked into the very premise. The show is entirely life lessons. Every episode is Very Special. It synthesizes those old contradictory impulses — jester vs. guru — so completely that they cease to be in tension. If “Seinfeld” was a show about nothing, “The Good Place” is a show about everything — including, and especially, growing and learning. By all rights, it should probably be awful — preachy, awkward, tedious, wooden, labored and out of touch. Instead, it is excellent: a work of popular art that hits on many levels at once. It has been not only critically acclaimed but also widely watched, especially on streaming services, where its twists and intricate jokes lend themselves to bingeing and rebingeing. The modern world, perhaps, is hungrier for ethics than we have been led to believe.

Back in the mansion, sometime after his private rehearsal session, Ted Danson thanked me, very sincerely, for coming to write about “The Good Place.” Then he corrected himself. “Well,” he said, “thanks for coming to write about Mike.” He was referring to Michael Schur, the show’s creator and driving force. I told Danson I wasn’t there to write just about Schur; I was there to write about the whole show. But Danson waved this off with one of his big, elegant hands. “It’s all Mike,” he told me. “We’re all just a bunch of little Mikes.”

As Michael is to the Good Place, Michael Schur is to “The Good Place” — the architect with everything on the line. (It is surely no coincidence that Schur named Ted Danson’s character after himself.) While the episode was being shot at the mansion, Schur was sitting five miles away, in his bungalow on the back lot of Universal Studios, worrying. He was thinking forward and backward, checking and rechecking his work, trying to exist in 10 different time signatures at once. Putting a TV show together — any TV show — is a crushing logistical nightmare. There are pitches and drafts and scripts and casting calls and table reads and revisions and rehearsals and budgets. You have to scout locations and then unleash huge quasi-military mobilizations of equipment. On top of which, “The Good Place” offers its own unique challenges. Its plot is an ongoing logic puzzle with twists that have to work across several different dimensions, and the integrity of that puzzle sometimes keeps Schur up at night.

Schur grew up in Connecticut and has a classic New England comedy pedigree: president of The Harvard Lampoon, staff writer on “Saturday Night Live.” He is now 42. He has a boyish face on a squarish head, and his thick, dark hair is brushed at the temples with white. He speaks in earnest, open paragraphs, with the clear pleasure of someone who enjoys exploring his own brain. “To be totally honest,” he says as soon as I step into his office, “I’m having a hard time gauging whether I’m O.K. with being a writer who has a vintage typewriter on his coffee table.” (It was a gift.) Our conversation covered the prodigious gifts of Kristen Bell — “She just has a really low center of gravity for how she approaches her job; you can give her 40 notes on a line, and she’ll go, ‘Yep, got it,’ and she’ll do all 40 of those notes at once” — and Schur’s own struggle with what he calls directional insanity: “If I don’t put a tremendous amount of concentration into it, I will get lost even going from my office to my house.” He lamented the persistence of toxic masculinity in show business. “People in general are far too tolerant of bad behavior,” he told me, “because they think it’s necessary for creativity. But I don’t think you should ever think they are one and the same.”

Schur is famous in the industry for his policy of — as he puts it in polite company — “no jerks.” This applies to every level of every project, from writers to directors to actors, and people say it is life-changing; there is a dedicated group of talent that follows Schur from show to show. His rise to network power has corresponded with a new tone in prime-time comedy, an era of good-hearted humanistic warmth. One of Schur’s signature early achievements was helping NBC, as part of the writing team, transform the original British version of “The Office” — the revered but bitterly cynical BBC mockumentary — into its softer American incarnation. The show flipped the ratio of cringing to pleasure and ran for nine seasons. Afterward, Schur co-created “Parks and Recreation,” which took the humanistic impulse even further. It was a sort of course correction from the shows Schur grew up on, the irony-drenched sitcoms of the 1990s.

“I’m not a huge fan of the ‘Seinfeld’ era, personally,” he told me. “I liked it when it was on — it broke the form and put it back together in this new way, and it was revolutionary and wonderful, and I consumed it like candy. But I don’t find the urge to go back and watch it again. It’s like doing a crossword puzzle for the second time. I think there’s a reason that shows where there is growth and learning are more rewatchable.”

A few years ago, after all of Schur’s success, NBC offered him a dream opportunity: total freedom for his next project. He was ambitious enough to see this not only as an opportunity but as a perverse creative challenge. Schur is a big literary-fiction reader, and he loves formal experimentation, and he especially reveres the late American writer David Foster Wallace — another innovator obsessed with goodness. In his office, Schur keeps various Wallace quotes for inspiration. One, from a 1993 interview, reads like a mission statement for “The Good Place”:

Look, man, we’d probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what’s human and magical that still live and glow despite the times’ darkness. Really good fiction could have as dark a worldview as it wished, but it’d find a way both to depict this world and to illuminate the possibilities for being alive and human in it.

The idea that excited Schur, for his next sitcom, was both simple and infinitely complex: what it means to be a good person. It was an idea he had been obsessed with in different forms for many years — and that had crystallized for him back in 2005, when Jennifer Philbin, who is now his wife, got into a very minor traffic accident with a man driving a Saab. No one was hurt, and no visible damage was done, and yet the incident would become, Schur later wrote, “one of the most interesting and complicated events of my adult life.” When the Saab driver filed what Schur thought was an unnecessary insurance claim and demanded $836 for bumper damage, Schur countered with a grandly high-minded alternative. If the man would drop his claim, Schur said, he would donate the $836 to victims of Hurricane Katrina. Schur’s plan went viral, and friends and supporters jumped in to pledge more than $30,000 — an incredible philanthropic victory — and yet Schur began to feel a growing sense of unease. He suspected that his mission was not, perhaps, entirely righteous. There was an element of grandstanding to the gesture, of moral one-upmanship, and Schur spoke about it with his family and colleagues and even professors of ethics. He became fascinated by the ways people can rack up ethical credits and debits all at the same time. This, eventually, would become the subject of his show.

Goodness is a notoriously difficult topic — a tangled knot at which religions and philosophers have been picking for all of human history. A 22-minute network comedy seems like exactly the wrong tool for the job. It’s like trying to hammer a nail with a banana peel. And yet that was the tool that Michael Schur had. So he was going to try.

Schur’s initial premise, in true sitcom fashion, was a kind of joke. What if life was, ethically speaking, a sort of video game — if every action had a point value, positive or negative, and the goal was to rack up the highest score? This is where “The Good Place” started. In the show’s first episode, during Michael’s orientation session, you can read dozens of scored behaviors, positive and negative, on his celestial presentation board: everything from “pet a lamb” (+0.89 points), “remember sister’s birthday” (+15.02) and “save a child from drowning” (+1,202.33) to “stiff a waitress” (-6.83), “disturb coral reef with flipper” (-53.83) and “poison a river” (-4,010.55).

Then things got complicated. As Schur began to plan the show, he embarked on an intense program of philosophical self-education. He read the classics (Aristotle, Mill, Bentham, Rawls) and hunted new academic papers online. He compiled thick reading packets and gave them to colleagues. He started to wish that he could go back to college to study philosophy full time. Philbin, who is also a writer, was overwhelmed by the number of boxes arriving at their front door. One night, she walked into the bedroom, brushing her teeth, to find Schur in bed studying a slim black book with a raven on its cover — the title of which was simply “Death.” (“What do we make of ourselves,” the book asks, “if the death that undermines us is a necessary feature of our lives being worthwhile?”)

“This show is going to ruin my life, isn’t it?” she asked.

One day out of the blue, Pamela Hieronymi, a professor at U.C.L.A., got an email from Schur, asking if she would speak to him about ethics. Hieronymi is not a TV watcher and had no idea who Schur was, but she agreed, and they ended up talking for three hours, largely about whether it is possible to become a good person by trying — about how intention and motivation color our moral behavior. Hieronymi was impressed by Schur’s earnestness and curiosity. It was clear that he didn’t just want to make jokes about philosophy; he wanted to actually understand the ideas. Eventually, Schur asked Hieronymi to join the show as a “consulting philosopher” — surely a first in sitcom history. Later he brought on Todd May, the author of that slim book about death. The consultants spoke not only to Schur but also to the writers’ room, giving lectures on existentialism and the famous thought experiment known as the Trolley Problem, ideas which were later woven into the show. All of which is to say “The Good Place” is not about philosophy in the way that “The Big Bang Theory” is about science — as a set of clichés to tap for silly jokes. A sitcom is not a grad school seminar, obviously, so the philosophy is highly abridged. But it is not insubstantial, and philosophical ideas actually determine and shape the plot.

At the beginning of Episode 6, Chidi holds up a book: a thick academic paperback with one of those devastatingly quiet covers (earth tones, Morandi still-life) that make you feel as if you will never be allowed to leave the library again.

Eleanor reads its title aloud — “What We Owe to Each Other” — and gasps.

“I saw this movie!” she says. “Laura Linney cries in a lake house because Jude Law left her for his ex-wife’s ghost.”

This synopsis, of course, is incorrect. The book is actually a dense work of philosophy by the Harvard emeritus professor T.M. Scanlon. It introduces an idea called “contractualism.” As Chidi explains it to Eleanor: “Imagine a group of reasonable people are coming up with the rules for a new society. ... But anyone can veto any rule that they think is unfair.” (“Well, my first rule would be that no one can veto my rules,” Eleanor responds, to which Chidi counters, “That’s called tyranny, and it’s generally frowned upon.”)

The book seeks to explain how human societies might find moral authority without appealing to a deity or inherited laws. The answer comes from a sort of idealized social negotiation — the process of thinking, in good faith, with a community of other good-faith thinkers. As Scanlon puts it: “Thinking about right and wrong is, at the most basic level, thinking about what could be justified to others on grounds that they, if appropriately motivated, could not reasonably reject.”

Pamela Hieronymi introduced Schur to “What We Owe to Each Other”; Scanlon was her dissertation adviser at Harvard. It was the perfect way to deepen the show’s original premise — that mechanistic notion of an ethical points system. It was richer, Hieronymi argued, to think of morality in terms of cooperative human relationships — the way networks of people, with their interdependencies and conflicts, have to find a way to coexist and sacrifice and treat one another with respect. In such messy human environments, ethical choices rarely map directly onto obvious results. There are no leader boards. The problems can be almost infinitely complex.

Schur loved not only the central thesis of “What We Owe to Each Other” but also the book’s title. “It assumes that we owe things to each other,” he told me. “It starts from that place. It’s not like: Do we owe anything to each other? It’s like: Given that we owe things to each other, let’s try to figure out what they are. It’s a very quietly subversive idea.”

It is, in a way, deeply un-American — an affront to our central mythology of individual rights, self-interest and the sanctity of the free market. As an over-the-top avatar of all our worst impulses, Eleanor is severely allergic to any notion of community. And yet her salvation will turn out to depend on the people around her, all of whom will in turn depend on her. What makes us good, Chidi tells her, is “our bonds to other people and our innate desire to treat them with dignity.” As the show progresses, “What We Owe to Each Other” becomes a recurring character, popping up onscreen at several crucial plot points. This amazed Hieronymi — the last thing she had expected to see was her dissertation adviser’s book featured prominently on a network sitcom.

Watching at home, Hieronymi was pleased with the show’s evolution. “What’s going to save the characters is the relationships they have with one another,” she said. “That seems exactly right to me.”

The cast of “The Good Place” is its own little experiment in contractualism. Ted Danson and Kristen Bell are, in different ways, Hollywood royalty — experienced, award-winning, brand-name celebrities. By contrast, the show’s other core actors are so new to the business that everyone on set refers to them, affectionately, as “the babies.” Jameela Jamil, who plays a magnetically self-absorbed British socialite named Tahani, had never acted before her audition. Manny Jacinto was a hip-hop dancer before he landed the part of Jason, a scene-stealing doofus from Florida. William Jackson Harper and D’Arcy Carden, who play Chidi and a heavenly version of Siri named Janet, were both in their mid 30s and had given up on dreams of mainstream acting success. (Carden says she still has frequent “daymares,” driving home from the set, that none of this is really happening.) And yet the actors on “The Good Place” seem to coexist in a spirit of radical egalitarianism. The younger actors notice Danson arriving early to obsessively work on his scenes, despite the fact that he is literally Ted Danson. And they notice that Kristen Bell memorizes not only her own lines but everyone else’s too, and that she reads all the crazy philosophical course packets Schur sends out, so that she can discourse at length about moral particularism vs. the categorical imperative.

Making a sitcom is incredibly tedious. Every scene is repeated infinite times, with tiny variations — and then the cameras are moved and the scene is repeated infinitely again. On set, Bell is a technician, precise and rational and systematic. She has a bright, quick energy, and she can change direction, multiple times, in a single line. In the mansion, I watched her working and reworking a scene in which Eleanor has a meltdown — a moment of insecurity that escalates into an angry retreat. Bell is small, barely five feet tall, and she was dressed that day in jeans and a pink sweatshirt. In the middle of the mansion’s chaos, she seemed like the rock-solid center around which everything else rotated.

I watched her perform the same scene over and over, take by take, as if she were slowly turning up an emotional dial. The writer of the episode, Joe Mande, stood a few yards away, with one headphone on and one off, mouthing the script as Bell performed it. D’Arcy Carden watched on a monitor and shook her head. “What a lil’ squirt,” she muttered. “She’s so good.” After many takes, Bell reached what she called her “big” take — one in which her rising anger basically blew the gilded doors off the room. (Later, editors would patch pieces of these performances together, deciding which precise emotional shades served the episode best.) Before storming out of the room, Bell had to rip out a chunk of a giant cake with her hands, and she approached that task with similar precision. She tried it standing on one side of the table and then the other, with one hand and then two, pulling the chunk violently up or dragging it straight back. “I want a rough rip,” she declared finally. The cake was huge, and there were only two backups, so it was important not to mess it up. But Bell needed only one cake. The rip, indeed, was rough.

W hy is such a strange show so popular? There are, of course, many reasons. There are the hundreds of hours of effort that go into Ted Danson’s fleeting hand gestures, as well as the hundreds of hours of reading that undergird Schur’s understanding of philosophical ideas. But a bigger reason might just be about timing. The sitcom is arguably the defining commercial art form of the American 20th century. Here in the ugly adolescence of the 21st century, “The Good Place” is using that old artistic form to take an honest moral accounting of the modern American soul. In doing so, it raises questions that have always been essential but that now glow with a special radioactivity.

Imagine, if you will, that a person, or a group of people, have done something bad. They have knowingly chosen to gain an advantage at the expense of someone else. Perhaps they lied to potential investors about a building’s actual value. Maybe they bullied the vulnerable and then laughed. Or maybe it was something worse: They took an entire continent from its indigenous peoples. They enslaved, tortured, kidnapped, murdered, lied, stole. Maybe the people who benefited from all these various crimes are also willing to argue, strenuously, that none of it actually happened — or that if it did happen, it didn’t matter, or even that it was all actually for the good. Maybe these people have managed, through further bad actions, to put themselves into positions of power, where they will have outsize influence on everything that happens next.

Can a person, or a nation, that finds itself in such a situation — can it ever change? Is such deep badness redeemable? Is there any hope?

In a low moment, I mentioned to Hieronymi that American culture seems to have abandoned ethics. She disagreed strongly. “It’s amazing to me how moralized and moralistic we seem to be,” she said, “especially right now. It’s just a cultural blamefest.” All the arguments that rage every day across social media and cable news — racism, reverse racism, statutes of limitations, reparations — are fundamentally about ethics. Even the top-down distractions meant to derail these conversations are conducted under the guise of earnest concern for right and wrong. “I think that’s got to be part of the popularity of ‘The Good Place,’ ” Hieronymi said.

Schur told me he wants to stress, in his show, the hard work of morality. So much of our ethical life is about thankless grinding drudgery, daily feats of internal strength, a constant invisible resistance.

“It feels, all the time in life, like a bad decision is right in front of you,” Schur said. “No matter who you are, there’s the opportunity to make bad decisions and hurt people. And it takes work just to keep not making those bad decisions. It takes a lot of concentrated effort to do the right thing all the time. Hopefully, you get so used to it, and it becomes such a part of who you are, that it doesn’t take work — you’re on autopilot making good decisions. But not always, and for a lot of people, not ever. You don’t have to look very hard to see a group of people in this country who have given in and are just making the worst decisions you can make. Like the most selfish, the most corrupt, the most evil decisions — and they’re just doing it as a matter of course. And it’s way too late. They’re never gonna go the other way.”

In the face of so much badness, Schur said, it is always tempting to give up. But the heroic thing is simply to try.

“You have to work at it, every day,” he said. “It’s so hard. The temptation will always be there to go: ‘Oh, no one’s watching. No one’s looking. I’ll just do this.’ Whatever ‘this’ is. If you throw a coffee cup at a garbage can and you miss, you could just walk away. The amount of bad you put into the universe is very minimal. But someone else is gonna have to come along and pick that thing up, and it sucks. It’s not that person’s problem, it’s your problem. And it’s a very slippery slope. As you get accustomed to one kind of bad action as permissible, then the Overton window shifts, right?

“And now the next thing is like, whatever — you cheat on your taxes. And you get away with it, because government bureaucracy is bad at picking up on tiny errors people make. And you’re like: All right, nobody got hurt. Because you’re not thinking about the school 82 miles away that couldn’t afford new textbooks because they didn’t get enough tax revenue and had to lower the school budget. All you’re thinking about is, I saved $400 by cheating on my taxes, that’s pretty cool. The window just keeps shifting, and eventually you become the kind of person who is making the bad, selfish, wrong decision by default instead of the good one. And then 15 years have gone by.”

As he wrote this new season of “The Good Place,” Schur couldn’t get an image out of his head. It was a scene from the end of “Saving Private Ryan” in which Tom Hanks, moments after being shot in the chest out in the middle of the battlefield, turns to see a German tank rumbling toward him. Bullets are pinging all around him, and the battle is clearly lost, and he is almost certainly going to die. He is absolutely not going to stop a tank. But in that moment, he decides to try. Hanks takes out his little handgun and, arm trembling, fires bullet after bullet at the oncoming tank.

“It’s the weirdest source material,” Schur said, “but it is a good analogy. That’s the essence of ‘The Good Place’ — to put people in a very difficult situation and have them say: ‘What’s the next thing we can do? What’s the next thing we can do?’ To point out that there’s more value in trying than in not trying, basically. I don’t want to spoil anything, but in the third season the characters get to a point where they have a choice. Do you give up or do you try? And they decide to try. And that is what the whole season is like. We’ll keep trying as long as we can. We’ll keep trying. No one is perfect. No one will ever win the race to be the best person. It’s impossible. But, especially since starting this show, I just think everyone should try harder. Including me.”

Sam Anderson is a staff writer for the magazine who frequently writes the New Sentences column. He recently wrote the introductory essay to the magazine’s New York issue.

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17 Book Review Examples to Help You Write the Perfect Review

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Blog – Posted on Friday, Mar 29

17 book review examples to help you write the perfect review.

It’s an exciting time to be a book reviewer. Once confined to print newspapers and journals, reviews now dot many corridors of the Internet — forever helping others discover their next great read. That said, every book reviewer will face a familiar panic: how can you do justice to a great book in just a thousand words?

As you know, the best way to learn how to do something is by immersing yourself in it. Luckily, the Internet (i.e. Goodreads and other review sites , in particular) has made book reviews more accessible than ever — which means that there are a lot of book reviews examples out there for you to view!

In this post, we compiled 17 prototypical book review examples in multiple genres to help you figure out how to write the perfect review . If you want to jump straight to the examples, you can skip the next section. Otherwise, let’s first check out what makes up a good review.

Are you interested in becoming a book reviewer? We recommend you check out Reedsy Discovery , where you can earn money for writing reviews — and are guaranteed people will read your reviews! To register as a book reviewer, sign up here.

Pro-tip : But wait! How are you sure if you should become a book reviewer in the first place? If you're on the fence, or curious about your match with a book reviewing career, take our quick quiz:

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What must a book review contain?

Like all works of art, no two book reviews will be identical. But fear not: there are a few guidelines for any aspiring book reviewer to follow. Most book reviews, for instance, are less than 1,500 words long, with the sweet spot hitting somewhere around the 1,000-word mark. (However, this may vary depending on the platform on which you’re writing, as we’ll see later.)

In addition, all reviews share some universal elements, as shown in our book review templates . These include:

A review will offer a concise plot summary of the book.
A book review will offer an evaluation of the work.
A book review will offer a recommendation for the audience.

If these are the basic ingredients that make up a book review, it’s the tone and style with which the book reviewer writes that brings the extra panache. This will differ from platform to platform, of course. A book review on Goodreads, for instance, will be much more informal and personal than a book review on Kirkus Reviews, as it is catering to a different audience. However, at the end of the day, the goal of all book reviews is to give the audience the tools to determine whether or not they’d like to read the book themselves.

Keeping that in mind, let’s proceed to some book review examples to put all of this in action.

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Book review examples for fiction books

Since story is king in the world of fiction, it probably won’t come as any surprise to learn that a book review for a novel will concentrate on how well the story was told .

That said, book reviews in all genres follow the same basic formula that we discussed earlier. In these examples, you’ll be able to see how book reviewers on different platforms expertly intertwine the plot summary and their personal opinions of the book to produce a clear, informative, and concise review.

Note: Some of the book review examples run very long. If a book review is truncated in this post, we’ve indicated by including a […] at the end, but you can always read the entire review if you click on the link provided.

Examples of literary fiction book reviews

Kirkus Reviews reviews Ralph Ellison’s The Invisible Man :

An extremely powerful story of a young Southern Negro, from his late high school days through three years of college to his life in Harlem.

His early training prepared him for a life of humility before white men, but through injustices- large and small, he came to realize that he was an "invisible man". People saw in him only a reflection of their preconceived ideas of what he was, denied his individuality, and ultimately did not see him at all. This theme, which has implications far beyond the obvious racial parallel, is skillfully handled. The incidents of the story are wholly absorbing. The boy's dismissal from college because of an innocent mistake, his shocked reaction to the anonymity of the North and to Harlem, his nightmare experiences on a one-day job in a paint factory and in the hospital, his lightning success as the Harlem leader of a communistic organization known as the Brotherhood, his involvement in black versus white and black versus black clashes and his disillusion and understanding of his invisibility- all climax naturally in scenes of violence and riot, followed by a retreat which is both literal and figurative. Parts of this experience may have been told before, but never with such freshness, intensity and power.

This is Ellison's first novel, but he has complete control of his story and his style. Watch it.

Lyndsey reviews George Orwell’s 1984 on Goodreads:

YOU. ARE. THE. DEAD. Oh my God. I got the chills so many times toward the end of this book. It completely blew my mind. It managed to surpass my high expectations AND be nothing at all like I expected. Or in Newspeak "Double Plus Good." Let me preface this with an apology. If I sound stunningly inarticulate at times in this review, I can't help it. My mind is completely fried.

This book is like the dystopian Lord of the Rings, with its richly developed culture and economics, not to mention a fully developed language called Newspeak, or rather more of the anti-language, whose purpose is to limit speech and understanding instead of to enhance and expand it. The world-building is so fully fleshed out and spine-tinglingly terrifying that it's almost as if George travelled to such a place, escaped from it, and then just wrote it all down.

I read Fahrenheit 451 over ten years ago in my early teens. At the time, I remember really wanting to read 1984, although I never managed to get my hands on it. I'm almost glad I didn't. Though I would not have admitted it at the time, it would have gone over my head. Or at the very least, I wouldn't have been able to appreciate it fully. […]

The New York Times reviews Lisa Halliday’s Asymmetry :

Three-quarters of the way through Lisa Halliday’s debut novel, “Asymmetry,” a British foreign correspondent named Alistair is spending Christmas on a compound outside of Baghdad. His fellow revelers include cameramen, defense contractors, United Nations employees and aid workers. Someone’s mother has FedExed a HoneyBaked ham from Maine; people are smoking by the swimming pool. It is 2003, just days after Saddam Hussein’s capture, and though the mood is optimistic, Alistair is worrying aloud about the ethics of his chosen profession, wondering if reporting on violence doesn’t indirectly abet violence and questioning why he’d rather be in a combat zone than reading a picture book to his son. But every time he returns to London, he begins to “spin out.” He can’t go home. “You observe what people do with their freedom — what they don’t do — and it’s impossible not to judge them for it,” he says.

The line, embedded unceremoniously in the middle of a page-long paragraph, doubles, like so many others in “Asymmetry,” as literary criticism. Halliday’s novel is so strange and startlingly smart that its mere existence seems like commentary on the state of fiction. One finishes “Asymmetry” for the first or second (or like this reader, third) time and is left wondering what other writers are not doing with their freedom — and, like Alistair, judging them for it.

Despite its title, “Asymmetry” comprises two seemingly unrelated sections of equal length, appended by a slim and quietly shocking coda. Halliday’s prose is clean and lean, almost reportorial in the style of W. G. Sebald, and like the murmurings of a shy person at a cocktail party, often comic only in single clauses. It’s a first novel that reads like the work of an author who has published many books over many years. […]

Emily W. Thompson reviews Michael Doane's The Crossing on Reedsy Discovery :

In Doane’s debut novel, a young man embarks on a journey of self-discovery with surprising results.

An unnamed protagonist (The Narrator) is dealing with heartbreak. His love, determined to see the world, sets out for Portland, Oregon. But he’s a small-town boy who hasn’t traveled much. So, the Narrator mourns her loss and hides from life, throwing himself into rehabbing an old motorcycle. Until one day, he takes a leap; he packs his bike and a few belongings and heads out to find the Girl.

Following in the footsteps of Jack Kerouac and William Least Heat-Moon, Doane offers a coming of age story about a man finding himself on the backroads of America. Doane’s a gifted writer with fluid prose and insightful observations, using The Narrator’s personal interactions to illuminate the diversity of the United States.

The Narrator initially sticks to the highways, trying to make it to the West Coast as quickly as possible. But a hitchhiker named Duke convinces him to get off the beaten path and enjoy the ride. “There’s not a place that’s like any other,” [39] Dukes contends, and The Narrator realizes he’s right. Suddenly, the trip is about the journey, not just the destination. The Narrator ditches his truck and traverses the deserts and mountains on his bike. He destroys his phone, cutting off ties with his past and living only in the moment.

As he crosses the country, The Narrator connects with several unique personalities whose experiences and views deeply impact his own. Duke, the complicated cowboy and drifter, who opens The Narrator’s eyes to a larger world. Zooey, the waitress in Colorado who opens his heart and reminds him that love can be found in this big world. And Rosie, The Narrator’s sweet landlady in Portland, who helps piece him back together both physically and emotionally.

This supporting cast of characters is excellent. Duke, in particular, is wonderfully nuanced and complicated. He’s a throwback to another time, a man without a cell phone who reads Sartre and sleeps under the stars. Yet he’s also a grifter with a “love ‘em and leave ‘em” attitude that harms those around him. It’s fascinating to watch The Narrator wrestle with Duke’s behavior, trying to determine which to model and which to discard.

Doane creates a relatable protagonist in The Narrator, whose personal growth doesn’t erase his faults. His willingness to hit the road with few resources is admirable, and he’s prescient enough to recognize the jealousy of those who cannot or will not take the leap. His encounters with new foods, places, and people broaden his horizons. Yet his immaturity and selfishness persist. He tells Rosie she’s been a good mother to him but chooses to ignore the continuing concern from his own parents as he effectively disappears from his old life.

Despite his flaws, it’s a pleasure to accompany The Narrator on his physical and emotional journey. The unexpected ending is a fitting denouement to an epic and memorable road trip.

The Book Smugglers review Anissa Gray’s The Care and Feeding of Ravenously Hungry Girls :

I am still dipping my toes into the literally fiction pool, finding what works for me and what doesn’t. Books like The Care and Feeding of Ravenously Hungry Girls by Anissa Gray are definitely my cup of tea.

Althea and Proctor Cochran had been pillars of their economically disadvantaged community for years – with their local restaurant/small market and their charity drives. Until they are found guilty of fraud for stealing and keeping most of the money they raised and sent to jail. Now disgraced, their entire family is suffering the consequences, specially their twin teenage daughters Baby Vi and Kim. To complicate matters even more: Kim was actually the one to call the police on her parents after yet another fight with her mother. […]

Examples of children’s and YA fiction book reviews

The Book Hookup reviews Angie Thomas’ The Hate U Give :

♥ Quick Thoughts and Rating: 5 stars! I can’t imagine how challenging it would be to tackle the voice of a movement like Black Lives Matter, but I do know that Thomas did it with a finesse only a talented author like herself possibly could. With an unapologetically realistic delivery packed with emotion, The Hate U Give is a crucially important portrayal of the difficulties minorities face in our country every single day. I have no doubt that this book will be met with resistance by some (possibly many) and slapped with a “controversial” label, but if you’ve ever wondered what it was like to walk in a POC’s shoes, then I feel like this is an unflinchingly honest place to start.

In Angie Thomas’s debut novel, Starr Carter bursts on to the YA scene with both heart-wrecking and heartwarming sincerity. This author is definitely one to watch.

♥ Review: The hype around this book has been unquestionable and, admittedly, that made me both eager to get my hands on it and terrified to read it. I mean, what if I was to be the one person that didn’t love it as much as others? (That seems silly now because of how truly mesmerizing THUG was in the most heartbreakingly realistic way.) However, with the relevancy of its summary in regards to the unjust predicaments POC currently face in the US, I knew this one was a must-read, so I was ready to set my fears aside and dive in. That said, I had an altogether more personal, ulterior motive for wanting to read this book. […]

The New York Times reviews Melissa Albert’s The Hazel Wood :

Alice Crewe (a last name she’s chosen for herself) is a fairy tale legacy: the granddaughter of Althea Proserpine, author of a collection of dark-as-night fairy tales called “Tales From the Hinterland.” The book has a cult following, and though Alice has never met her grandmother, she’s learned a little about her through internet research. She hasn’t read the stories, because her mother, Ella Proserpine, forbids it.

Alice and Ella have moved from place to place in an attempt to avoid the “bad luck” that seems to follow them. Weird things have happened. As a child, Alice was kidnapped by a man who took her on a road trip to find her grandmother; he was stopped by the police before they did so. When at 17 she sees that man again, unchanged despite the years, Alice panics. Then Ella goes missing, and Alice turns to Ellery Finch, a schoolmate who’s an Althea Proserpine superfan, for help in tracking down her mother. Not only has Finch read every fairy tale in the collection, but handily, he remembers them, sharing them with Alice as they journey to the mysterious Hazel Wood, the estate of her now-dead grandmother, where they hope to find Ella.

“The Hazel Wood” starts out strange and gets stranger, in the best way possible. (The fairy stories Finch relays, which Albert includes as their own chapters, are as creepy and evocative as you’d hope.) Albert seamlessly combines contemporary realism with fantasy, blurring the edges in a way that highlights that place where stories and real life convene, where magic contains truth and the world as it appears is false, where just about anything can happen, particularly in the pages of a very good book. It’s a captivating debut. […]

James reviews Margaret Wise Brown’s Goodnight, Moon on Goodreads:

Goodnight Moon by Margaret Wise Brown is one of the books that followers of my blog voted as a must-read for our Children's Book August 2018 Readathon. Come check it out and join the next few weeks!

This picture book was such a delight. I hadn't remembered reading it when I was a child, but it might have been read to me... either way, it was like a whole new experience! It's always so difficult to convince a child to fall asleep at night. I don't have kids, but I do have a 5-month-old puppy who whines for 5 minutes every night when he goes in his cage/crate (hopefully he'll be fully housebroken soon so he can roam around when he wants). I can only imagine! I babysat a lot as a teenager and I have tons of younger cousins, nieces, and nephews, so I've been through it before, too. This was a believable experience, and it really helps show kids how to relax and just let go when it's time to sleep.

The bunny's are adorable. The rhymes are exquisite. I found it pretty fun, but possibly a little dated given many of those things aren't normal routines anymore. But the lessons to take from it are still powerful. Loved it! I want to sample some more books by this fine author and her illustrators.

Publishers Weekly reviews Elizabeth Lilly’s Geraldine :

This funny, thoroughly accomplished debut opens with two words: “I’m moving.” They’re spoken by the title character while she swoons across her family’s ottoman, and because Geraldine is a giraffe, her full-on melancholy mode is quite a spectacle. But while Geraldine may be a drama queen (even her mother says so), it won’t take readers long to warm up to her. The move takes Geraldine from Giraffe City, where everyone is like her, to a new school, where everyone else is human. Suddenly, the former extrovert becomes “That Giraffe Girl,” and all she wants to do is hide, which is pretty much impossible. “Even my voice tries to hide,” she says, in the book’s most poignant moment. “It’s gotten quiet and whispery.” Then she meets Cassie, who, though human, is also an outlier (“I’m that girl who wears glasses and likes MATH and always organizes her food”), and things begin to look up.

Lilly’s watercolor-and-ink drawings are as vividly comic and emotionally astute as her writing; just when readers think there are no more ways for Geraldine to contort her long neck, this highly promising talent comes up with something new.

Examples of genre fiction book reviews

Karlyn P reviews Nora Roberts’ Dark Witch , a paranormal romance novel , on Goodreads:

4 stars. Great world-building, weak romance, but still worth the read.

I hesitate to describe this book as a 'romance' novel simply because the book spent little time actually exploring the romance between Iona and Boyle. Sure, there IS a romance in this novel. Sprinkled throughout the book are a few scenes where Iona and Boyle meet, chat, wink at each, flirt some more, sleep together, have a misunderstanding, make up, and then profess their undying love. Very formulaic stuff, and all woven around the more important parts of this book.

The meat of this book is far more focused on the story of the Dark witch and her magically-gifted descendants living in Ireland. Despite being weak on the romance, I really enjoyed it. I think the book is probably better for it, because the romance itself was pretty lackluster stuff.

I absolutely plan to stick with this series as I enjoyed the world building, loved the Ireland setting, and was intrigued by all of the secondary characters. However, If you read Nora Roberts strictly for the romance scenes, this one might disappoint. But if you enjoy a solid background story with some dark magic and prophesies, you might enjoy it as much as I did.

I listened to this one on audio, and felt the narration was excellent.

Emily May reviews R.F. Kuang’s The Poppy Wars , an epic fantasy novel , on Goodreads:

“But I warn you, little warrior. The price of power is pain.”

Holy hell, what did I just read??

➽ A fantasy military school

➽ A rich world based on modern Chinese history

➽ Shamans and gods

➽ Detailed characterization leading to unforgettable characters

➽ Adorable, opium-smoking mentors

That's a basic list, but this book is all of that and SO MUCH MORE. I know 100% that The Poppy War will be one of my best reads of 2018.

Isn't it just so great when you find one of those books that completely drags you in, makes you fall in love with the characters, and demands that you sit on the edge of your seat for every horrific, nail-biting moment of it? This is one of those books for me. And I must issue a serious content warning: this book explores some very dark themes. Proceed with caution (or not at all) if you are particularly sensitive to scenes of war, drug use and addiction, genocide, racism, sexism, ableism, self-harm, torture, and rape (off-page but extremely horrific).

Because, despite the fairly innocuous first 200 pages, the title speaks the truth: this is a book about war. All of its horrors and atrocities. It is not sugar-coated, and it is often graphic. The "poppy" aspect refers to opium, which is a big part of this book. It is a fantasy, but the book draws inspiration from the Second Sino-Japanese War and the Rape of Nanking.

Crime Fiction Lover reviews Jessica Barry’s Freefall , a crime novel:

In some crime novels, the wrongdoing hits you between the eyes from page one. With others it’s a more subtle process, and that’s OK too. So where does Freefall fit into the sliding scale?

In truth, it’s not clear. This is a novel with a thrilling concept at its core. A woman survives plane crash, then runs for her life. However, it is the subtleties at play that will draw you in like a spider beckoning to an unwitting fly.

Like the heroine in Sharon Bolton’s Dead Woman Walking, Allison is lucky to be alive. She was the only passenger in a private plane, belonging to her fiancé, Ben, who was piloting the expensive aircraft, when it came down in woodlands in the Colorado Rockies. Ally is also the only survivor, but rather than sitting back and waiting for rescue, she is soon pulling together items that may help her survive a little longer – first aid kit, energy bars, warm clothes, trainers – before fleeing the scene. If you’re hearing the faint sound of alarm bells ringing, get used to it. There’s much, much more to learn about Ally before this tale is over.

Kirkus Reviews reviews Ernest Cline’s Ready Player One , a science-fiction novel :

Video-game players embrace the quest of a lifetime in a virtual world; screenwriter Cline’s first novel is old wine in new bottles.

The real world, in 2045, is the usual dystopian horror story. So who can blame Wade, our narrator, if he spends most of his time in a virtual world? The 18-year-old, orphaned at 11, has no friends in his vertical trailer park in Oklahoma City, while the OASIS has captivating bells and whistles, and it’s free. Its creator, the legendary billionaire James Halliday, left a curious will. He had devised an elaborate online game, a hunt for a hidden Easter egg. The finder would inherit his estate. Old-fashioned riddles lead to three keys and three gates. Wade, or rather his avatar Parzival, is the first gunter (egg-hunter) to win the Copper Key, first of three.

Halliday was obsessed with the pop culture of the 1980s, primarily the arcade games, so the novel is as much retro as futurist. Parzival’s great strength is that he has absorbed all Halliday’s obsessions; he knows by heart three essential movies, crossing the line from geek to freak. His most formidable competitors are the Sixers, contract gunters working for the evil conglomerate IOI, whose goal is to acquire the OASIS. Cline’s narrative is straightforward but loaded with exposition. It takes a while to reach a scene that crackles with excitement: the meeting between Parzival (now world famous as the lead contender) and Sorrento, the head of IOI. The latter tries to recruit Parzival; when he fails, he issues and executes a death threat. Wade’s trailer is demolished, his relatives killed; luckily Wade was not at home. Too bad this is the dramatic high point. Parzival threads his way between more ’80s games and movies to gain the other keys; it’s clever but not exciting. Even a romance with another avatar and the ultimate “epic throwdown” fail to stir the blood.

Too much puzzle-solving, not enough suspense.

Book review examples for non-fiction books

Nonfiction books are generally written to inform readers about a certain topic. As such, the focus of a nonfiction book review will be on the clarity and effectiveness of this communication . In carrying this out, a book review may analyze the author’s source materials and assess the thesis in order to determine whether or not the book meets expectations.

Again, we’ve included abbreviated versions of long reviews here, so feel free to click on the link to read the entire piece!

The Washington Post reviews David Grann’s Killers of the Flower Moon :

The arc of David Grann’s career reminds one of a software whiz-kid or a latest-thing talk-show host — certainly not an investigative reporter, even if he is one of the best in the business. The newly released movie of his first book, “The Lost City of Z,” is generating all kinds of Oscar talk, and now comes the release of his second book, “Killers of the Flower Moon: The Osage Murders and the Birth of the FBI,” the film rights to which have already been sold for $5 million in what one industry journal called the “biggest and wildest book rights auction in memory.”

Grann deserves the attention. He’s canny about the stories he chases, he’s willing to go anywhere to chase them, and he’s a maestro in his ability to parcel out information at just the right clip: a hint here, a shading of meaning there, a smartly paced buildup of multiple possibilities followed by an inevitable reversal of readerly expectations or, in some cases, by a thrilling and dislocating pull of the entire narrative rug.

All of these strengths are on display in “Killers of the Flower Moon.” Around the turn of the 20th century, oil was discovered underneath Osage lands in the Oklahoma Territory, lands that were soon to become part of the state of Oklahoma. Through foresight and legal maneuvering, the Osage found a way to permanently attach that oil to themselves and shield it from the prying hands of white interlopers; this mechanism was known as “headrights,” which forbade the outright sale of oil rights and granted each full member of the tribe — and, supposedly, no one else — a share in the proceeds from any lease arrangement. For a while, the fail-safes did their job, and the Osage got rich — diamond-ring and chauffeured-car and imported-French-fashion rich — following which quite a large group of white men started to work like devils to separate the Osage from their money. And soon enough, and predictably enough, this work involved murder. Here in Jazz Age America’s most isolated of locales, dozens or even hundreds of Osage in possession of great fortunes — and of the potential for even greater fortunes in the future — were dispatched by poison, by gunshot and by dynamite. […]

Stacked Books reviews Malcolm Gladwell’s Outliers :

I’ve heard a lot of great things about Malcolm Gladwell’s writing. Friends and co-workers tell me that his subjects are interesting and his writing style is easy to follow without talking down to the reader. I wasn’t disappointed with Outliers. In it, Gladwell tackles the subject of success – how people obtain it and what contributes to extraordinary success as opposed to everyday success.

The thesis – that our success depends much more on circumstances out of our control than any effort we put forth – isn’t exactly revolutionary. Most of us know it to be true. However, I don’t think I’m lying when I say that most of us also believe that we if we just try that much harder and develop our talent that much further, it will be enough to become wildly successful, despite bad or just mediocre beginnings. Not so, says Gladwell.

Most of the evidence Gladwell gives us is anecdotal, which is my favorite kind to read. I can’t really speak to how scientifically valid it is, but it sure makes for engrossing listening. For example, did you know that successful hockey players are almost all born in January, February, or March? Kids born during these months are older than the others kids when they start playing in the youth leagues, which means they’re already better at the game (because they’re bigger). Thus, they get more play time, which means their skill increases at a faster rate, and it compounds as time goes by. Within a few years, they’re much, much better than the kids born just a few months later in the year. Basically, these kids’ birthdates are a huge factor in their success as adults – and it’s nothing they can do anything about. If anyone could make hockey interesting to a Texan who only grudgingly admits the sport even exists, it’s Gladwell. […]

Quill and Quire reviews Rick Prashaw’s Soar, Adam, Soar :

Ten years ago, I read a book called Almost Perfect. The young-adult novel by Brian Katcher won some awards and was held up as a powerful, nuanced portrayal of a young trans person. But the reality did not live up to the book’s billing. Instead, it turned out to be a one-dimensional and highly fetishized portrait of a trans person’s life, one that was nevertheless repeatedly dubbed “realistic” and “affecting” by non-transgender readers possessing only a vague, mass-market understanding of trans experiences.

In the intervening decade, trans narratives have emerged further into the literary spotlight, but those authored by trans people ourselves – and by trans men in particular – have seemed to fall under the shadow of cisgender sensationalized imaginings. Two current Canadian releases – Soar, Adam, Soar and This One Looks Like a Boy – provide a pointed object lesson into why trans-authored work about transgender experiences remains critical.

To be fair, Soar, Adam, Soar isn’t just a story about a trans man. It’s also a story about epilepsy, the medical establishment, and coming of age as seen through a grieving father’s eyes. Adam, Prashaw’s trans son, died unexpectedly at age 22. Woven through the elder Prashaw’s narrative are excerpts from Adam’s social media posts, giving us glimpses into the young man’s interior life as he traverses his late teens and early 20s. […]

Book Geeks reviews Elizabeth Gilbert’s Eat, Pray, Love :

WRITING STYLE: 3.5/5

SUBJECT: 4/5

CANDIDNESS: 4.5/5

RELEVANCE: 3.5/5

ENTERTAINMENT QUOTIENT: 3.5/5

“Eat Pray Love” is so popular that it is almost impossible to not read it. Having felt ashamed many times on my not having read this book, I quietly ordered the book (before I saw the movie) from amazon.in and sat down to read it. I don’t remember what I expected it to be – maybe more like a chick lit thing but it turned out quite different. The book is a real story and is a short journal from the time when its writer went travelling to three different countries in pursuit of three different things – Italy (Pleasure), India (Spirituality), Bali (Balance) and this is what corresponds to the book’s name – EAT (in Italy), PRAY (in India) and LOVE (in Bali, Indonesia). These are also the three Is – ITALY, INDIA, INDONESIA.

Though she had everything a middle-aged American woman can aspire for – MONEY, CAREER, FRIENDS, HUSBAND; Elizabeth was not happy in her life, she wasn’t happy in her marriage. Having suffered a terrible divorce and terrible breakup soon after, Elizabeth was shattered. She didn’t know where to go and what to do – all she knew was that she wanted to run away. So she set out on a weird adventure – she will go to three countries in a year and see if she can find out what she was looking for in life. This book is about that life changing journey that she takes for one whole year. […]

Emily May reviews Michelle Obama’s Becoming on Goodreads:

Look, I'm not a happy crier. I might cry at songs about leaving and missing someone; I might cry at books where things don't work out; I might cry at movies where someone dies. I've just never really understood why people get all choked up over happy, inspirational things. But Michelle Obama's kindness and empathy changed that. This book had me in tears for all the right reasons.

This is not really a book about politics, though political experiences obviously do come into it. It's a shame that some will dismiss this book because of a difference in political opinion, when it is really about a woman's life. About growing up poor and black on the South Side of Chicago; about getting married and struggling to maintain that marriage; about motherhood; about being thrown into an amazing and terrifying position.

I hate words like "inspirational" because they've become so overdone and cheesy, but I just have to say it-- Michelle Obama is an inspiration. I had the privilege of seeing her speak at The Forum in Inglewood, and she is one of the warmest, funniest, smartest, down-to-earth people I have ever seen in this world.

And yes, I know we present what we want the world to see, but I truly do think it's genuine. I think she is someone who really cares about people - especially kids - and wants to give them better lives and opportunities.

She's obviously intelligent, but she also doesn't gussy up her words. She talks straight, with an openness and honesty rarely seen. She's been one of the most powerful women in the world, she's been a graduate of Princeton and Harvard Law School, she's had her own successful career, and yet she has remained throughout that same girl - Michelle Robinson - from a working class family in Chicago.

I don't think there's anyone who wouldn't benefit from reading this book.

Hopefully, this post has given you a better idea of how to write a book review. You might be wondering how to put all of this knowledge into action now! Many book reviewers start out by setting up a book blog. If you don’t have time to research the intricacies of HTML, check out Reedsy Discovery — where you can read indie books for free and review them without going through the hassle of creating a blog. To register as a book reviewer , go here .

And if you’d like to see even more book review examples, simply go to this directory of book review blogs and click on any one of them to see a wealth of good book reviews. Beyond that, it's up to you to pick up a book and pen — and start reviewing!

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Essay on Tourist Places in India

Students are often asked to write an essay on Tourist Places in India in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Tourist Places in India

Introduction.

India, a country known for its diverse cultures, has many beautiful places to visit. These include historical monuments, natural wonders, and vibrant cities.

Historical Monuments

Monuments like the Taj Mahal, Qutub Minar, and Red Fort showcase India’s rich history. They are popular attractions for both local and international tourists.

Natural Wonders

India’s natural beauty is seen in places like Kerala’s backwaters, Rajasthan’s Thar Desert, and the snow-capped peaks of the Himalayas. These spots offer breathtaking views.

Vibrant Cities

Cities like Mumbai, Delhi, and Bangalore are bustling with life. They offer a mix of traditional and modern attractions, from temples to shopping malls.

250 Words Essay on Tourist Places in India

India, a land of diverse cultures, traditions, and landscapes, is a paradise for travelers. From the snow-capped peaks of the Himalayas to the serene backwaters of Kerala, the country offers an array of tourist destinations that cater to all kinds of travelers.

The Northern Expanse

The northern region of India is home to the majestic Himalayan range. Destinations like Ladakh, Shimla, and Manali offer breathtaking views, adventure sports, and spiritual retreats. The state of Rajasthan, with its rich history and grand architecture, offers a glimpse into India’s royal past. Cities like Jaipur, Udaipur, and Jodhpur are famous for their forts, palaces, and vibrant culture.

The Southern Serenity

The southern part of India is a haven for nature lovers and beach enthusiasts. Kerala, known as ‘God’s Own Country’, offers serene backwaters, lush green landscapes, and exotic wildlife. Goa, on the other hand, is a party destination with beautiful beaches and a vibrant nightlife. The ancient temples of Hampi and Madurai are a testament to the architectural brilliance of the bygone era.

The Eastern Heritage

The eastern part of India is rich in cultural heritage. Kolkata, the cultural capital of India, is known for its literature, arts, and colonial architecture. The Sun Temple of Konark and the Jagannath Temple in Puri are famous pilgrimage sites. The Kaziranga and Sunderbans National Parks offer unique wildlife experiences.

The Western Charm

The western region of India is a blend of tradition and modernity. Mumbai, the financial capital, is known for its bustling markets and Bollywood industry. The Ajanta and Ellora caves in Maharashtra showcase ancient Indian art and culture.

In conclusion, India, with its diverse landscapes and rich heritage, offers a myriad of experiences for every traveler. Its tourist destinations are a reflection of its cultural diversity, historical richness, and natural beauty.

500 Words Essay on Tourist Places in India

India, a country rich in its diverse culture and splendid traditions, is famous worldwide for its beautiful tourist destinations. It is a land where history, nature, and modernity coexist in harmony, offering an array of tourist spots that cater to different tastes and interests. From the snow-capped peaks of the Himalayas to the sun-kissed beaches of Goa, from the sacred Ganges to the sands of the Thar Desert, India is a treasure trove of unique experiences.

The Majestic North

The northern part of India is a paradise for nature lovers and adventure enthusiasts. The Himalayan range offers breathtaking landscapes and thrilling experiences. Destinations like Leh-Ladakh, Shimla, Manali, and Uttarakhand are renowned for their scenic beauty. The region also boasts of historic sites like the Golden Temple in Amritsar and the Taj Mahal in Agra, a UNESCO World Heritage site and one of the Seven Wonders of the World.

The Cultural Heartland

Central India is the cultural heartland, with places like Varanasi, known for its spiritual significance, and Khajuraho, famous for its ancient temples and erotic sculptures. Madhya Pradesh, the geographical center of India, is home to numerous heritage sites like the Sanchi Stupa and rock shelters of Bhimbetka.

The Vibrant West

Western India offers a blend of history, culture, and modernity. Rajasthan’s royal palaces, Gujarat’s white desert, and Maharashtra’s bustling city life, including Mumbai, the entertainment capital of India, are major attractions. The region is also known for its wildlife sanctuaries, such as the Ranthambore National Park in Rajasthan and the Gir National Park in Gujarat.

The Serene South

The southern region of India is known for its serene beaches, backwaters, and hill stations. Kerala, known as ‘God’s Own Country,’ offers a unique experience with its houseboat cruises in the backwaters of Alleppey. The intricately carved temples of Tamil Nadu, the IT hub Bangalore, and the historical city of Mysore in Karnataka, and the Charminar in Hyderabad, Telangana, are other notable attractions.

The Mystical East

The eastern part of India is a blend of spirituality, nature, and culture. The Sun Temple at Konark and the Jagannath Temple at Puri in Odisha, the ancient city of Nalanda in Bihar, and the tea gardens of Assam are must-visit places. The region also offers natural beauty with places like Darjeeling and Sikkim in the lap of the Himalayas.

India, with its vast geographical and cultural diversity, offers a myriad of tourist destinations. Each region has its unique charm and attractions, promising an unforgettable experience to travelers. The country’s rich heritage, vibrant traditions, and scenic beauty make it a must-visit destination on every traveler’s list.

That’s it! I hope the essay helped you.

If you’re looking for more, here are essays on other interesting topics:

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Aunt Shell’s

Location & Hours

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2404 Minnesota Ave SE

Washington, DC 20020

S White Pl & S Nicholson St

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This my second time here and decided to give it another shot after ordering a mid-cheeseburger combo for lunch. But who orders a cheeseburger from a soul food place ‍. I'm glad I came back! I ordered the 1/4 Chicken leg dinner with Mac and Collards this time. The chicken was flavored to the gods and the sides were delicious. I will definitely come back for the rest of the menu! PS to the store: Being able to call my order in was a godsend and kept me on schedule.

I am sooooo Happy to have found a place with some GOOD food! First, they've been open less than 2 months, so Please give them grace. I spoke with the owners wife, who was very pleasant and personable! We're both from Uptown! She suggested I get the jerk turkey wings. I'm glad I did!!! They were delicious! No complaints!! My sides were greens and mash n gravy. Again, No complaints!!

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Bridgerton season 3: part 1 review - penelope & colin get awkward & steamy in sweet, layered story.

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How Long You Have To Wait For Bridgerton Season 3 Part 2

Bridgerton recap: 10 things to remember before season 3, bridgerton season 3 soundtrack: every modern song cover & when they play.

Warning: This review contains very mild spoilers for Bridgerton season 3, part 1

Penelope & Colin's romance blossoms in season 3 with relatable quirks & intense moments.
Season 3 explores themes of identity through Penelope & Colin's masks and relationships.
Bridgerton season 3, part 1 offers character evolution, engaging storylines, & fresh romance tropes.

One of the best things about Bridgerton is its ability to tell a different kind of love story each season. Yes, there is a rotating cast of characters who each get their own storylines, but the central romance — and its dynamics and tropes — stand apart, giving us an opportunity to enjoy and experience something fresh each time. Bridgerton season 3 offers that breath of fresh air in spades. It not only leans into the friendship-to-lovers trope, but asks its characters to examine who they are without their masks to hide behind.

From Shondaland and creator Chris Van Dusen, Netflix’s Bridgerton is based on the romance novels of the same name by author Julia Quinn. The series follows the eight Bridgerton siblings, Anthony, Benedict, Colin, Daphne, Eloise, Francesca, Gregory, and Hyacinth, as they search for love during the social season and navigate life in Regency-era England.

Penelope and Colin's romance is layered, and delivers on their individual arcs as well
Nicola Coughlan truly steals the show
Many in the ensemble cast get good subplots
Certain characters are sidelined
Ending part 1 on a cliffhanger derails the momentum

Penelope & Colin’s Bridgerton Season 3 Romance Is Sweet

While penelope and eloise’s friendship is brimming with tension.

After two seasons of being a wallflower, Penelope Featherington (Nicola Coughlan) is finally taking things into her own hands. At the end of Bridgerton season 2 , Penelope was at her lowest, having overheard Colin (Luke Newton) saying he wouldn’t dream of courting her and her friendship with Eloise (Claudia Jessie) coming to an end after the latter discovers Penelope is Lady Whistledown (Julie Andrews). I was a bit worried about season 3, what with Chris Van Dusen stepping down from showrunner duties and Jess Brownell taking over in the role.

Showrunner changes aren’t always a good thing for a series, but Brownell and her writing team capably and smartly maneuver between developing Colin and Penelope’s budding romance and the fraught tension between the scribe and Eloise, which bleeds over into Eloise’s relationship with Colin. The romance and tension juxtapose each other, offering up the sweetness of Colin and Penelope’s budding relationship — that nicely builds beyond their friendship thanks to a game-changing first kiss — and the stress of maneuvering through life without one’s dearest friend.

Coughlan, for her part, fully delivers in her role, balancing Penelope’s fumbling, longing, sadness and wit.

Season 3 isn’t as intense or as steamy as season 2 — nor are Anthony (Jonathan Bailey) and Kate (Simone Ashley) in part 1 beyond the premiere, which is frustrating since it robs them of a fully developed story — but it does have its own heat, and plenty of awkward moments. Watching Colin encourage Penelope to talk to men in a bid to find a husband before the season is over is great because it produces several cringe-worthy moments and endearing blabber that had me chortling. The second-hand embarrassment is immense, but it’s exactly what I love in a friends-to-lovers story.

Their relationship reaches a boiling point, and the transition from friends to something more is handled rather seamlessly. By the time Colin realizes he has feelings for Penelope, the intensity is dialed up, which leads to more longing and jealous gazes from across the ballroom. Part 1 ends just when we want more of it, which makes viewers’ wait for part 2 somewhat frustrating. Coughlan, for her part, fully delivers in her role, balancing Penelope’s fumbling, longing, sadness and wit. Her courtship with Lord Debling (Sam Phillips) also brings another side to her, soothing her nerves while giving her hope.

I was frustrated with Penelope at the end of season 2, but season 3 course-corrected. It had me wanting her accountability while simultaneously rooting for her to have it all. It’s a fine line to walk, but the writing and Coughlan’s layered performance do a lot to deepen Penelope’s character further. Newton’s performance, on the other hand, doesn’t quite match Coughlan’s, but he does especially well when flustered or intently staring at Penelope rather than when he’s simply being serious. He’s best when he’s in a scene with Coughlan, who brings something more profound out in him.

Bridgerton Season 3’s Themes Are A Strength

Its various themes are interesting and take center stage.

One of the most enjoyable aspects of Bridgerton season 3 is the relationship between its mothers and daughters. Interestingly, Violet Bridgerton (Ruth Gemmell) and Portia Featherington (Polly Walker) are in the same boat this season when it comes to Francesca (played by new cast member Hannah Dodd ) and Penelope, respectively. They’ve become accustomed to certain things and are also unsure how to handle their daughters’ views and actions within the marriage mart. Crucially, Bridgerton seasons 3 brings new challenges for Violet and Portia, pushing them outside their comfort zones without sidelining their involvement.

Another lovely theme involves the masks we use in public while we hide our inner selves — whether it’s to impress others or be perceived in a certain, perhaps more “respectable,” way. This applies to Colin and Penelope, and season 3 does a good job of highlighting their discomfort with the roles they have played, while taking care to show their true selves to each other. It makes sense, too, that Penelope struggles to engage, flirt, and be one with society when she’s been on the edges of it for so long.

...season 3 does a good job of highlighting [Penelope and Colin's] discomfort with the roles they have played, while taking care to show their true selves to each other.

It gives her dynamic with Colin, who, after having traveled between Bridgerton seasons 2 and 3, has returned with a more confident swagger, some oomph. He’s more comfortable with himself, but still yearns for something deeper than what he’s found thus far. Penelope, meanwhile, feels secure behind Lady Whistledown’s scandal sheet but not with herself. It takes her a minute to adjust and it’s a rather fascinating examination of the writer becoming the story herself, and what that means for Penelope and her relationships.

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Bridgerton Season 3, Part 1 Is Even Better Upon Rewatch

I’ll admit that it took some adjusting to Bridgerton season 3, but it’s even better upon a second viewing. There’s always a lot going on in this show, with multiple characters and storylines to juggle, including one involving the formerly one-note mean girl Cressida Cowper (Jessica Madsen), whose friendship with Eloise is a nice surprise. To fully immerse myself and ensure I didn’t miss anything, I watched the first four episodes twice, and I appreciated it a lot more the second time around.

Aside from Penelope and Colin’s romance, which will surely have lots of investment, the series manages to not only build upon what came before in season 2, but brings elements over from Queen Charlotte: A Bridgerton Story . You won’t look at Queen Charlotte’s (Golda Rosheuvel) relationship with Brimsley (Hugh Sachs) the same again, and Lady Danbury’s (Adjoa Andoh) relationship with her brother, Lord Marcus Anderson (Daniel Francis), isn’t without its thorns. It makes the overall story more engaging.

Orchestral pop covers of Sia's "Cheap Thrills," BTS' "Dynamite," and Billie Eilish's "Happier Than Ever" are also featured in Bridgerton season 3, part 1, among many others.

But beyond the fancy frocks, the orchestral covers of pop songs (GAYLE’s “Abcdefu” is excellently placed), and the flowery, playful lightheartedness, Bridgerton season 3 has a lot going for it in terms of character evolution and the exploration of one’s inner self. Brownell and co. know exactly the story they’re telling and how to move from one scene to the next without missing a beat. Season 3, part 1 doesn’t linger any longer than necessary on any given moment or storyline, while at the same time giving us something fresh within the romance genre.

Yes, it’s a bit vexing that Kate and Anthony, in particular, get short-changed in terms of their story, and Benedict (Luke Thompson) doesn’t seem to be progressing as quickly as I’d like. The season being split in half is also unnecessary, as it risks losing steam before part 2 even airs in June. But Bridgerton continues to do what it does best, and its merits here outweigh any grievances I might have elsewhere. Coughlan’s Penelope may not be the diamond of the season, but she shines bright nonetheless.

Bridgerton season 3, part 1 — which consists of four episodes — is now available to stream on Netflix. Part 2 will release on June 13.

Biden and Trump agree to CNN debate in June, ABC faceoff in September

President Biden announced earlier that he would not participate in the traditional televised showdowns organized by the Commission on Presidential Debates.

President Biden and former president Donald Trump agreed Wednesday to a June 27 debate on CNN and a Sept. 10 debate broadcast by ABC News, bypassing the decades-old tradition of three fall meetings organized by the bipartisan Commission on Presidential Debates.

The decisions by the major-party candidates to take control of the once independent debate planning process upended the timeline that has defined presidential contests for decades, adding unpredictability to an already close race. The two debates will happen much earlier than normal, which could decrease their impact on the election or awaken voters who have not yet tuned in.

Both candidates would be taking a chance by debating. If he stumbles or appears forgetful, Biden, 81, risks confirming some Americans’ suspicions that he is too old for the job. And Trump, just four years younger, has also faced doubts about his age. A face-to-face meeting could also remind Americans of Trump’s volatility and would give Biden the chance to describe the election as a choice between the two men, rather than a referendum on his record.

“Because of these questions about his capacities, Biden has a lot at stake,” said David Axelrod, former senior adviser to President Barack Obama. “But Trump has a lot at stake here too, because if Biden does pierce that narrative, it could change the dynamic of the race.”

The terms of the first debate remained a work in progress late Wednesday. The CNN debate in Atlanta, moderated by anchors Jake Tapper and Dana Bash, will be conducted without a live audience. It will be open to any presidential candidate who gets 15 percent in four separate approved national polls between March 15 and June 20; who gets on enough ballots to have a path to winning a majority of the votes in the electoral college; and who agrees to the debate rules. ABC News said late Wednesday that its debate would use similar criteria and would be moderated by anchors David Muir and Linsey Davis.

The networks’ proposed rules open a possible path for independent candidate Robert F. Kennedy Jr. to make the stage. But Biden advisers said that they had told CNN the president would only participate in debates that were one-on-one with Trump and that they did not agree to another debate Trump suggested, on Fox News in October.

“President Biden made his terms clear for two one-on-one debates, and Donald Trump accepted those terms,” campaign chair Jen O’Malley Dillon said in a statement. “No more games. No more chaos, no more debate about debates.”

A Trump campaign official said a CNN producer had given assurances in a call Wednesday morning that “RFK will not be on the stage,” after describing the criteria for the event.

But aides to Kennedy, who has at least two qualifying polls, said he would be on track to get enough ballot access by June 20 if they speed up their timeline for turning in signatures. Richard Winger, editor of Ballot Access News, agreed that there was a clear path for Kennedy to win ballot access in enough states before that date.

“We’re thrilled Presidents Biden and Trump have finally agreed to a debate!” Kennedy campaign manager Amaryllis Fox Kennedy said in a statement. “We anticipate Mr. Kennedy fulfilling all participation criteria by June 20th and look forward to offering American voters the three-way debate they deserve.”

Frank Fahrenkopf Jr., co-chair of the Commission on Presidential Debates, said his organization was founded to avoid this type of confusion. The commission requires a higher standard than the one adopted by the networks.

“One of the reasons we were created is campaigns could never agree on the most important things,” Fahrenkopf said. “If they can do it, more power to them. We’d rather have them go with us.”

The public agreement by the Trump and Biden campaigns followed informal back-channel discussions in recent weeks, according to two people familiar with the interactions who spoke on the condition of anonymity to discuss private talks. The two camps discussed debates that would not involve the commission.

Both sides had grown increasingly frustrated with the commission, people with knowledge of the situation said, and Trump has been publicly and privately clamoring to debate Biden.

“I am Ready and Willing to Debate Crooked Joe at the two proposed times,” Trump wrote on Wednesday on Truth Social. “I would strongly recommend more than two debates and, for excitement purposes, a very large venue, although Biden is supposedly afraid of crowds.”

2024 presidential election

The Biden proposal, outlined in a video message and letter to the commission Wednesday morning, called for direct negotiations between the Trump and Biden campaigns over the rules, moderators and network hosts for the one-on-one encounters. Biden proposed a separate vice-presidential debate in July, after the Republican nominating convention and before the Democratic nominating convention.

“Donald Trump lost two debates to me in 2020, and since then he hasn’t shown up for a debate. Now he is acting like he wants to debate me again. Well, make my day, pal. I’ll even do it twice,” Biden said in the video released Wednesday that referenced the weekly break in Trump’s New York criminal trial . “So let’s pick the dates, Donald. I hear you’re free on Wednesdays.”

The first debate on CNN will fall on a Thursday, after the expected conclusion of Trump’s New York trial.

O’Malley Dillon cited the commission’s proposed schedule and past struggles to keep candidates from violating the debate rules in the letter explaining the decision.

“The Commission’s model of building huge spectacles with large audiences at great expense simply isn’t necessary or conducive to good debates,” she wrote. “The debates should be conducted for the benefit of the American voters, watching on television and at home — not as entertainment for an in-person audience with raucous or disruptive partisans and donors, who consume valuable debate time with noisy spectacles of approval or jeering.”

Biden proposed that the moderator should be selected by the broadcast host from its “regular personnel,” with firm time limits for answers, equal speaking time, alternative turns to speak and microphones that are active only during each candidate’s turn.

“The real story here is that Joe Biden is so weak and infirm he will only commit to two debates when we should be doing much more,” Trump campaign senior adviser Chris LaCivita said in a statement.

“Trump walked himself into a corner by saying ‘anytime and anywhere,’” Axelrod said. “They got exactly the conditions you want if you are Biden. You get a studio, not a Roman colosseum — and early. The history of these things is you always want them early because if they don’t go well, you can recover from them.”

Trump and the Republican National Committee had previously expressed interest in bypassing the commission, which has convened presidential debates since the 1988 election. The commission has already scheduled one vice-presidential and three presidential debates, starting Sept. 16 with a presidential candidate meeting in Texas that would have been simultaneously broadcast by major broadcast and cable news networks.

The commission said it would continue to plan for four debates this fall, including the vice-presidential candidate meeting. “Our 2024 sites, all locations of higher learning, are prepared to host debates on dates chosen to accommodate early voters,” the group said in a statement Wednesday.

The organization began sponsoring presidential debates after the two major-party presidential campaigns in 1984 struggled to agree on terms.

Televised debates starting in 1960 were held in the final months of the campaign, after the candidates had been formally nominated to lead their parties. But the early debates had also been inconsistent events, subject to significant disputes between the candidates. Republican Richard M. Nixon and Democrat John F. Kennedy were the first to meet in a televised presidential debate, during the 1960 election campaign. The next major-party presidential debate took place in 1976, followed by debates in 1980 and 1984.

The commission sought to standardize the practice as a neutral arbiter, creating a candidate qualification standard of at least 15 percent in national polling and a ballot access requirement that provided a path to victory in the electoral college. The commission also picked the locations, moderators and formats, eventually setting a pattern of three fall presidential candidate debates, including one town hall-style event, and one vice-presidential candidate debate.

That system has met bipartisan resistance in recent years. Biden’s advisers were furious about the commission’s failure to enforce agreed-upon masking and coronavirus testing requirements at the first debate in 2020. Three former aides later said Trump had tested positive for the virus days before that meeting with Biden, though he only made his condition public afterward. Biden’s aides also objected to the debate commission’s failure to contain Trump’s outbursts during the first meeting.

“Everyone was upset in the first debate when the delegation of Trump family and their supporters sat down, they took off the masks. When members of the Cleveland Clinic gave them masks, they wouldn’t put them on. What were we supposed to do? Shut down the debate?” Fahrenkopf said.

The Republican National Committee announced in 2022 that the party would leave the commission’s debate system altogether, calling the body “biased” because it started the 2020 debates after voting had begun, its board members had criticized Trump, and it had failed to consult the campaign on some format issues. The RNC also objected to the commission’s 2020 decision to hire a debate moderator, C-SPAN anchor Steve Scully, who had briefly interned during college in Biden’s Senate office in 1978.

Two top Trump campaign advisers, LaCivita and Susie Wiles, announced last month that the timing of the commission’s first debate was “unacceptable.”

Fahrenkopf, a former chairman of the Republican National Committee, was optimistic as late as Tuesday that his organization’s system would endure. He said the commission’s debates could not be scheduled until after Sept. 6, the last date when states determine which candidates appear on their November ballots, since ballot access is a condition of debate eligibility under the commission’s rules.

Fahrenkopf said he was taken by surprise by Biden’s letter and had not discussed it privately with O’Malley Dillon or any of the president’s top aides. He also said he had not discussed debates with Trump’s campaign, instead waiting for both to be officially nominated.

“We’ll have to see,” Fahrenkopf said, when asked about the future of the commission, adding that he expected to leave the group after 2024 regardless.

Scott Clement and Emily Guskin contributed to this report.

Election 2024

Get the latest news on the 2024 election from our reporters on the campaign trail and in Washington.

Who is running? President Biden and Donald Trump secured their parties’ nominations for the presidency . Here’s how we ended up with a Trump-Biden rematch again.

Key dates and events: From January to June, voters in all states and U.S. territories will pick their party’s nominee for president ahead of the summer conventions. Here are key dates and events on the 2024 election calendar .

Abortion and the election: Voters in about a dozen states could decide the fate of abortion rights with constitutional amendments on the ballot in a pivotal election year. Biden supports legal access to abortion , and he has encouraged Congress to pass a law that would codify abortion rights nationwide. After months of mixed signals about his position, Trump said the issue should be left to states . Here’s how Biden’s and Trump’s abortion stances have shifted over the years.

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