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

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

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

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

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

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

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

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Table of contents

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

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

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

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

Language choices

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

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

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

Narrative voice

Ask yourself:

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

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

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

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

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

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

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

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

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

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

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

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

Essay question example

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

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

Thesis statement example

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

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

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

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

Your initial answer might be a surface-level description:

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

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

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

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

Finding textual evidence

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

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

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

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

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

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

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

The introduction

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

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

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

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

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

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

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

Paragraph structure

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

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

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

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

Topic sentences

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

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

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

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

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

Using textual evidence

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

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

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

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

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

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

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

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Teaching Literary Analysis

Guide students through the five steps of understanding and writing literary analysis: choosing and focusing a topic, gathering, presenting and analyzing textual evidence, and concluding.

Literary analysis is a vital stage in the development of students' critical thinking skills. Bloom's Taxonomy illustrates that analysis should come at the fourth level, right after comprehension and application. What this means is that students must be able to understand and describe the text before they are able to analyze its elements.

Teaching literary analysis is often a daunting and overwhelming task. After all, it is essentially guiding students slowly through the process of critical thinking and understanding literature. That’s not a simple undertaking. Most importantly, with so many ways to go about doing it, where to begin?

To guide students toward discovering literature all on their own, the steps of this process need to be introduced in a simplified form. It's very important for the student to understand that literary analysis is indeed a process where there is no right or wrong answer. This empowers students to be passionate about their topics and, most importantly, encourages them to look beyond the words on the page.

1. Choose a Topic

Some students need guidance when choosing a topic, but others have ideas that they would like to explore. Topics can be divided into the main literary elements:

• Literary devices

2. Focus the Topic

Here is where many students will need to do a lot of brainstorming, outlining, and specific thinking about the element on which they would like to focus.

• The brainstorming process involves mapping out the different aspects of the chosen element.
• Make a choice by narrowing down the selection and focusing the ideas.
• Come up with a question to answer (thesis statement): What do you want to explore about the topic? Why does it stand out to you?
• Answer the "why" question. Instead of letting students simply describe the text, "why" pushes them to analyze and even synthesize. This aspect is vital to student understanding, as most of the time a teacher is able to identify a relevant thesis related to modern-day issues and concepts. Here is where real-world application, analysis, and synthesis can begin to form in this piece of writing.

3. Gather Textual Evidence

Collecting material to answer or support your question is often a time-consuming stage, because most of the close reading will occur here. It's important for students to know that they're allowed to research the topic or text before starting to write. Many students feel that they should not be using Google or Wikipedia to research their texts. Here is where the teacher can have an honest discussion about digital citizenship, and how to tell credible academic sources from non-credible ones.

Show students that close reading and gathering evidence doesn't have to be a mundane, one-dimensional task.

• Identify common themes, repetitions, and patterns.
• Categorize elements, tone, and narrative style.
• Highlight characterization, setting, and foreshadowing.
• Label character types, symbols, and metaphors.

4. Introduce, Evidence, Analyze

Learning through writing and literary analysis happens through stages (see Bloom's Taxonomy ). At this stage of writing, students have already accomplished remembering, understanding, and applying. Next comes analysis.

Students should introduce their point in one or two clear topic sentences. Next, it's important to provide evidence that supports the main topic in order to convince the reader of the stated point of view. There are a few ways students can add their evidence.

• Quotation: When providing evidence word for word from a primary or secondary source, students should be reminded to use quotation marks only if the words have not been altered.
• Summary: Students summarize a piece of evidence by restating it in a shorter form using their own words.
• Paraphrase: Students explain a piece of evidence using their own words.

At this stage, it's important to use the lesson as a reminder to cite and give credit for words and ideas that belong to others. A conversation with the class about academic honesty is very important to help them understand intellectual property. This conversation will also prepare them for honesty and ethics in the real or academic world.

This critical stage is often a learning curve for many students. It's important that the teacher helps them distinguish between descriptive writing and analytical writing. Descriptive writing answers the "who," "what," "where," and "how" questions. It often tends to summarize the text. Analytical writing , however, answers to the "why" question. When students consider the question, "Why is this point important?", it pushes them beyond mere description into ideas that are convincing, argumentative, and defend a position.

5. Conclusion

A strong conclusion outlines the main ideas of the essay, but it also works to provide a solution to a real-life problem. Students can focus on concluding with what they hope to get out of their analysis, or provide closure to the topic. Most importantly, students should seize the conclusion as an opportunity to provide their own opinion and reflection about their process of analyzing the text. The self-reflection here would be a vital key for teachers to assess the writing process and a great opportunity to provide essential feedback to the student.

Please share your own experiences in teaching students about literary analysis.

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10 of the Best Literary Analysis Activities to Elevate Thinking

Inside this Post: Ready to elevate your literary analysis lessons? This post is full of engaging and effective activities to help students master literary analysis topics.

Literary analysis has become the beating heart of English classes around the world. When students read a text, we want them to peel back the layers one by one, appreciating the deeper meaning that lies within each sentence. As English teachers, many of us connect with texts easily and persevere through complex literature naturally. For our students, this process is not always as enjoyable.

In this post, you’ll find suggestions for elevating thinking with middle and high school students. These ideas can be used with paired or individual texts and can be differentiated to reach a variety of learners.

Engaging and Effective Literary Analysis Activities

Literary analysis elements are best when they are engaging and elevate thinking without frustrating students. I’ve played around with different approaches, and these are the key elements that resonate most with students.

1. Thinking Aloud

One of the best feelings as a teacher is knowing you have an entire class full of teenagers engaged. It’s amazing how every single student in a classroom is in tune with think alouds. Something about making thinking transparent challenges students of all readiness levels. With literary analysis lessons, I love providing think alouds with the whole class. Whether we do this via face to face instruction or by creating a short video for virtual classrooms, we have to model our thinking.

Here’s an example with “All the world’s a stage” from William Shakespeare’s As You Like It …

This speech, at first, seems complicated. But, Shakespeare is talking about the world being a stage, and I think there is something deeper to what he is saying. Let’s go back again and look for clues. The men and women are players on the stage. He writes that they have their exits and entrances. I’m trying to visualize that in my head now. The world is a stage, the people are actors, and when they walk on and off the stage, that is their theatrical entrance and exit. Now that I understand he is using this speech as an extended metaphor, I wonder why would Shakespeare is choosing to compare these two things?

When modeling literary analysis, we can break down our thought process. If we write a written response, we can scaffold by color coding our thoughts in order to highlight the necessary critical thinking steps.

• First, acknowledge what is confusing or uncertain about the text. What might we be missing as readers?
• Second, make observations.
• Third, apply reading strategies (in this case, I used visualizing).
• Last, teach students to ask questions that probe at the deeper meaning and reason for the writing.

2. Graphic Organizers

Graphic organizers are one of my go-to strategies for elevating thinking . We can use them to differentiate and to guide students as we work in small groups. I like to keep a variety of literary analysis graphic organizers for any text on hand so that I can be responsive. If students show a need to work on analyzing a specific literary element – characterization, plot, theme, conflict, etcetera – I use a graphic organizer as we read a text or excerpt together, modeling my thinking. Then, students can practice using the same organizer in small groups, partners, or independently.

Literary analysis consists of asking a bunch of questions to lead students to deeper thinking, and graphic organizers are a bridge that walks students down that path of purposeful questioning.

Grab this print and digital literary analysis graphic organizer for analyzing song lyrics – one of secondary students’ favorite texts to pick apart!

Nothing grabs a student’s attention like an image! Visuals are amazing tools for introducing literary analysis skills. I always begin my literary analysis unit with pictures. Using an image, we can quickly show students how to differentiate between summarizing and analyzing . Then, we can walk them through the steps of acknowledging what we might be missing, making observations, applying reading strategies, and questioning for deeper meaning.

Consider using images from a variety of sources. We can try historical images, political cartoons, famous paintings, graphic novels, wordless picture books, advertisements, or even just regular photographs.

I even work this type of analytical thinking into my vocabulary activities ! Students get used to interpreting photos and using textual evidence to support their thinking.

4. One Pagers

One pagers are one of my favorite literary analysis activities. In order to make them meaningful, I incorporate scaffolding . So, students have access to standards-aligned goals and questions that prompt their responses to the text. Choice helps as well. We can allow students to choose digital or traditional , response angles, and even texts.

In terms of literary analysis benefits, we can really focus on asking students to cite textual evidence to track a universal theme. While doing so, students can draw conclusions about how literary elements work together or how they provide tension to impact a reader’s overall takeaway.

5. Colorful Charts

Mood and tone can be tricky for students to analyze. So that they can understand the difference between them but also so that they see how mood and tone work in tandem, I began using an equalizer metaphor . Students can use color and amplification to analyze how mood and tone change throughout a literary work. By creating a visual representation, there’s a direct connection between the mood and the storyline.

How does setting impact mood , and how does mood impact the conflict in the story?

For instance, the quiet beauty of the Capulet garden sets the stage for a romantic balcony scene, but the noisy bustle of the lewd fighting in the Verona streets helps to define the conflict and tension between the two feuding families.

With tone , how does the author’s word choice and sentence structure in each section convey his or her attitude in the work?

As we study the amplification of tone in the play Romeo and Juliet , we see a consistent change from light-hearted comedy to an intensely poetic and tragic seriousness. Over the course of the play, one might say that Shakespeare’s juxtaposition creates an overall sympathetic tone toward the star-crossed lovers.

6. Get Moving

One of the issues when it comes to citing evidence in a literary analysis essay is finding relevant support. Sometimes, it seems like the lines students select from literature are completely disconnected from what they are writing. That may be because they don’t truly understand how their thesis connects to their main points or how their main points connect to the evidence. For some students, there are too many degrees of separation!

A kinesthetic option to address this issue involves Post-Its (or colored text boxes if you are doing this digitally) and a t-chart. At the top of the paper (use big paper or a white board if you can do this together in the classroom!), write the analytical point. What conclusion can students draw about characters, setting, or another literary element that would support their thesis statement?

Under that, label the T-Chart as “Relevant” and “Off Topic.” Then, you have some options.

BASIC: You identify support for students in advance and have them sort the support based on its relevance. Could they use it to analyze the text, or is it off topic?

ADVANCE: Ask students to find examples of relevant and off-topic lines from the text.

A MIXTURE:   Provide students with a handful of lines they can sort into relevant and off-topic categories, and then ask them to find a couple more examples on their own.

To increase the engagement factor, use some washi tape on the floor in the shape of whatever makes the most sense – a character outline for analyzing character, a house for analyzing setting, a circle for analyzing a universal theme. Then, have students stick their Post-It notes inside or outside of the shape. Inside indicates that the evidence is relevant, and outside means it’s off-topic.

7. Children’s Books

We don’t always think to use picture books with older students , but they are one of my absolute favorite ways to scaffold literary analysis! Because picture books are short, we can cover an entire (and often complex) story in a short period of time. And, we can continually refer back to that text throughout the school year. Because picture books are accessible for all students, they will remember sharing the story together, and you can really make significant strides with whole-class discussions and small group lessons.

Try using picture books to teach Notice and Note signposts, language, aesthetics, and theme . One of my favorite ways to use picture books is teaching students to analyze how dialogue impacts decisions, propels action, and develops characters. For example, in the book Elbow Grease , the protagonist is motivated to participate in a race for which he is the underdog simply because some crass comments from his friends make him angry. This really is the turning point in the story, which makes it convenient to analyze how dialogue can lead to decisions and actions that change the course of a storyline.

8. Short Films

For a thousand and one reasons, I adore short films. They’re short (obvious, I know), which makes them ideal for modeling and mini lessons. Plus, they are visually captivating and apply to a wide age range. And, generally, they hold quite a bit of depth and leave room for a variety of interpretations.

During first quarter with ninth graders, I built in a yearly routine of watching short films during our literary analysis unit and having students complete their first full analytical essay. It’s fun. I can model using a short film I enjoy. Then, I get to read a wide range of responses from students who choose different texts. To scaffold for struggling writers, I suggest a few short films I am very familiar with; this way, I can guide them if they get stuck or confused.

You can also build in short films by using them with poetry for paired text analysis .

9. Reading Strategies

One of the building blocks of literary analysis is having a good foundation in apply reading strategies. It’s fun to model what readers do. We can show students how analyzing texts and re-reading for deeper meaning helps us with writing and then ask students to practice those skills.

For instance, when students begin to understand that authors have a purposeful craft that impacts their reading experience, it empowers them to pick that craft apart, studying the nuances of what makes it work. And, it gives them an advantage as authors themselves. They may think,  I remember how the author’s purposeful use of short, staccato sentences and onomatopoeias increased the suspense during that scene. Maybe I should use those techniques in this part of my story to add an emotional element for my readers.

These are some of the graphic organizers I’ve used to scaffold reading strategy work with the whole class, and then students can transfer those skills to small group or independent practice, using the same organizer if necessary.

10. Social Media Activities

Social media is everywhere. We might as well use it as a relevant option for analyzing literature! One of my favorites is booksnaps , and I tie in Snapchat by having them take a photo of part of the text they want to analyze. Then, they add interpretations, images, and text as well as a caption with a more detailed analysis. I call these Snap-a-Books.  I also created a Spot-a-Book analysis option, reminiscent of Spotify playlists. Students can create playlists relevant to character analysis, setting analysis, conflict analysis, and more!

And, that’s ten! I hope you’ve found some meaningful literary analysis activities to spark creative, critical thinking in your classroom.

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Introduction

You’ve been assigned a literary analysis paper—what does that even mean? Is it like a book report that you used to write in high school? Well, not really.

A literary analysis essay asks you to make an original argument about a poem, play, or work of fiction and support that argument with research and evidence from your careful reading of the text.

It can take many forms, such as a close reading of a text, critiquing the text through a particular literary theory, comparing one text to another, or criticizing another critic’s interpretation of the text. While there are many ways to structure a literary essay, writing this kind of essay follows generally follows a similar process for everyone

Crafting a good literary analysis essay begins with good close reading of the text, in which you have kept notes and observations as you read. This will help you with the first step, which is selecting a topic to write about—what jumped out as you read, what are you genuinely interested in? The next step is to focus your topic, developing it into an argument—why is this subject or observation important? Why should your reader care about it as much as you do? The third step is to gather evidence to support your argument, for literary analysis, support comes in the form of evidence from the text and from your research on what other literary critics have said about your topic. Only after you have performed these steps, are you ready to begin actually writing your essay.

Writing a Literary Analysis Essay

How to create a topic and conduct research:.

Writing an Analysis of a Poem, Story, or Play

If you are taking a literature course, it is important that you know how to write an analysis—sometimes called an interpretation or a literary analysis or a critical reading or a critical analysis—of a story, a poem, and a play. Your instructor will probably assign such an analysis as part of the course assessment. On your mid-term or final exam, you might have to write an analysis of one or more of the poems and/or stories on your reading list. Or the dreaded “sight poem or story” might appear on an exam, a work that is not on the reading list, that you have not read before, but one your instructor includes on the exam to examine your ability to apply the active reading skills you have learned in class to produce, independently, an effective literary analysis.You might be asked to write instead or, or in addition to an analysis of a literary work, a more sophisticated essay in which you compare and contrast the protagonists of two stories, or the use of form and metaphor in two poems, or the tragic heroes in two plays.

You might learn some literary theory in your course and be asked to apply theory—feminist, Marxist, reader-response, psychoanalytic, new historicist, for example—to one or more of the works on your reading list. But the seminal assignment in a literature course is the analysis of the single poem, story, novel, or play, and, even if you do not have to complete this assignment specifically, it will form the basis of most of the other writing assignments you will be required to undertake in your literature class. There are several ways of structuring a literary analysis, and your instructor might issue specific instructions on how he or she wants this assignment done. The method presented here might not be identical to the one your instructor wants you to follow, but it will be easy enough to modify, if your instructor expects something a bit different, and it is a good default method, if your instructor does not issue more specific guidelines.You want to begin your analysis with a paragraph that provides the context of the work you are analyzing and a brief account of what you believe to be the poem or story or play’s main theme. At a minimum, your account of the work’s context will include the name of the author, the title of the work, its genre, and the date and place of publication. If there is an important biographical or historical context to the work, you should include that, as well.Try to express the work’s theme in one or two sentences. Theme, you will recall, is that insight into human experience the author offers to readers, usually revealed as the content, the drama, the plot of the poem, story, or play unfolds and the characters interact. Assessing theme can be a complex task. Authors usually show the theme; they don’t tell it. They rarely say, at the end of the story, words to this effect: “and the moral of my story is…” They tell their story, develop their characters, provide some kind of conflict—and from all of this theme emerges. Because identifying theme can be challenging and subjective, it is often a good idea to work through the rest of the analysis, then return to the beginning and assess theme in light of your analysis of the work’s other literary elements.Here is a good example of an introductory paragraph from Ben’s analysis of William Butler Yeats’ poem, “Among School Children.”

“Among School Children” was published in Yeats’ 1928 collection of poems The Tower. It was inspired by a visit Yeats made in 1926 to school in Waterford, an official visit in his capacity as a senator of the Irish Free State. In the course of the tour, Yeats reflects upon his own youth and the experiences that shaped the “sixty-year old, smiling public man” (line 8) he has become. Through his reflection, the theme of the poem emerges: a life has meaning when connections among apparently disparate experiences are forged into a unified whole.

In the body of your literature analysis, you want to guide your readers through a tour of the poem, story, or play, pausing along the way to comment on, analyze, interpret, and explain key incidents, descriptions, dialogue, symbols, the writer’s use of figurative language—any of the elements of literature that are relevant to a sound analysis of this particular work. Your main goal is to explain how the elements of literature work to elucidate, augment, and develop the theme. The elements of literature are common across genres: a story, a narrative poem, and a play all have a plot and characters. But certain genres privilege certain literary elements. In a poem, for example, form, imagery and metaphor might be especially important; in a story, setting and point-of-view might be more important than they are in a poem; in a play, dialogue, stage directions, lighting serve functions rarely relevant in the analysis of a story or poem.

The length of the body of an analysis of a literary work will usually depend upon the length of work being analyzed—the longer the work, the longer the analysis—though your instructor will likely establish a word limit for this assignment. Make certain that you do not simply paraphrase the plot of the story or play or the content of the poem. This is a common weakness in student literary analyses, especially when the analysis is of a poem or a play.

Here is a good example of two body paragraphs from Amelia’s analysis of “Araby” by James Joyce.

Within the story’s first few paragraphs occur several religious references which will accumulate as the story progresses. The narrator is a student at the Christian Brothers’ School; the former tenant of his house was a priest; he left behind books called The Abbot and The Devout Communicant. Near the end of the story’s second paragraph the narrator describes a “central apple tree” in the garden, under which is “the late tenant’s rusty bicycle pump.” We may begin to suspect the tree symbolizes the apple tree in the Garden of Eden and the bicycle pump, the snake which corrupted Eve, a stretch, perhaps, until Joyce’s fall-of-innocence theme becomes more apparent.

The narrator must continue to help his aunt with her errands, but, even when he is so occupied, his mind is on Mangan’s sister, as he tries to sort out his feelings for her. Here Joyce provides vivid insight into the mind of an adolescent boy at once elated and bewildered by his first crush. He wants to tell her of his “confused adoration,” but he does not know if he will ever have the chance. Joyce’s description of the pleasant tension consuming the narrator is conveyed in a striking simile, which continues to develop the narrator’s character, while echoing the religious imagery, so important to the story’s theme: “But my body was like a harp, and her words and gestures were like fingers, running along the wires.”

The concluding paragraph of your analysis should realize two goals. First, it should present your own opinion on the quality of the poem or story or play about which you have been writing. And, second, it should comment on the current relevance of the work. You should certainly comment on the enduring social relevance of the work you are explicating. You may comment, though you should never be obliged to do so, on the personal relevance of the work. Here is the concluding paragraph from Dao-Ming’s analysis of Oscar Wilde’s The Importance of Being Earnest.

First performed in 1895, The Importance of Being Earnest has been made into a film, as recently as 2002 and is regularly revived by professional and amateur theatre companies. It endures not only because of the comic brilliance of its characters and their dialogue, but also because its satire still resonates with contemporary audiences. I am still amazed that I see in my own Asian mother a shadow of Lady Bracknell, with her obsession with finding for her daughter a husband who will maintain, if not, ideally, increase the family’s social status. We might like to think we are more liberated and socially sophisticated than our Victorian ancestors, but the starlets and eligible bachelors who star in current reality television programs illustrate the extent to which superficial concerns still influence decisions about love and even marriage. Even now, we can turn to Oscar Wilde to help us understand and laugh at those who are earnest in name only.

Dao-Ming’s conclusion is brief, but she does manage to praise the play, reaffirm its main theme, and explain its enduring appeal. And note how her last sentence cleverly establishes that sense of closure that is also a feature of an effective analysis.

You may, of course, modify the template that is presented here. Your instructor might favour a somewhat different approach to literary analysis. Its essence, though, will be your understanding and interpretation of the theme of the poem, story, or play and the skill with which the author shapes the elements of literature—plot, character, form, diction, setting, point of view—to support the theme.

Academic Writing Tips : How to Write a Literary Analysis Paper. Authored by: eHow. Located at: https://youtu.be/8adKfLwIrVk. License: All Rights Reserved. License Terms: Standard YouTube license

BC Open Textbooks: English Literature Victorians and Moderns: https://opentextbc.ca/englishliterature/back-matter/appendix-5-writing-an-analysis-of-a-poem-story-and-play/

Literary Analysis

The challenges of writing about english literature.

Writing begins with the act of reading . While this statement is true for most college papers, strong English papers tend to be the product of highly attentive reading (and rereading). When your instructors ask you to do a “close reading,” they are asking you to read not only for content, but also for structures and patterns. When you perform a close reading, then, you observe how form and content interact. In some cases, form reinforces content: for example, in John Donne’s Holy Sonnet 14, where the speaker invites God’s “force” “to break, blow, burn and make [him] new.” Here, the stressed monosyllables of the verbs “break,” “blow” and “burn” evoke aurally the force that the speaker invites from God. In other cases, form raises questions about content: for example, a repeated denial of guilt will likely raise questions about the speaker’s professed innocence. When you close read, take an inductive approach. Start by observing particular details in the text, such as a repeated image or word, an unexpected development, or even a contradiction. Often, a detail–such as a repeated image–can help you to identify a question about the text that warrants further examination. So annotate details that strike you as you read. Some of those details will eventually help you to work towards a thesis. And don’t worry if a detail seems trivial. If you can make a case about how an apparently trivial detail reveals something significant about the text, then your paper will have a thought-provoking thesis to argue.

Common Types of English Papers Many assignments will ask you to analyze a single text. Others, however, will ask you to read two or more texts in relation to each other, or to consider a text in light of claims made by other scholars and critics. For most assignments, close reading will be central to your paper. While some assignment guidelines will suggest topics and spell out expectations in detail, others will offer little more than a page limit. Approaching the writing process in the absence of assigned topics can be daunting, but remember that you have resources: in section, you will probably have encountered some examples of close reading; in lecture, you will have encountered some of the course’s central questions and claims. The paper is a chance for you to extend a claim offered in lecture, or to analyze a passage neglected in lecture. In either case, your analysis should do more than recapitulate claims aired in lecture and section. Because different instructors have different goals for an assignment, you should always ask your professor or TF if you have questions. These general guidelines should apply in most cases:

• A close reading of a single text: Depending on the length of the text, you will need to be more or less selective about what you choose to consider. In the case of a sonnet, you will probably have enough room to analyze the text more thoroughly than you would in the case of a novel, for example, though even here you will probably not analyze every single detail. By contrast, in the case of a novel, you might analyze a repeated scene, image, or object (for example, scenes of train travel, images of decay, or objects such as or typewriters). Alternately, you might analyze a perplexing scene (such as a novel’s ending, albeit probably in relation to an earlier moment in the novel). But even when analyzing shorter works, you will need to be selective. Although you might notice numerous interesting details as you read, not all of those details will help you to organize a focused argument about the text. For example, if you are focusing on depictions of sensory experience in Keats’ “Ode to a Nightingale,” you probably do not need to analyze the image of a homeless Ruth in stanza 7, unless this image helps you to develop your case about sensory experience in the poem.
• A theoretically-informed close reading. In some courses, you will be asked to analyze a poem, a play, or a novel by using a critical theory (psychoanalytic, postcolonial, gender, etc). For example, you might use Kristeva’s theory of abjection to analyze mother-daughter relations in Toni Morrison’s novel Beloved. Critical theories provide focus for your analysis; if “abjection” is the guiding concept for your paper, you should focus on the scenes in the novel that are most relevant to the concept.
• A historically-informed close reading. In courses with a historicist orientation, you might use less self-consciously literary documents, such as newspapers or devotional manuals, to develop your analysis of a literary work. For example, to analyze how Robinson Crusoe makes sense of his island experiences, you might use Puritan tracts that narrate events in terms of how God organizes them. The tracts could help you to show not only how Robinson Crusoe draws on Puritan narrative conventions, but also—more significantly—how the novel revises those conventions.
• A comparison of two texts When analyzing two texts, you might look for unexpected contrasts between apparently similar texts, or unexpected similarities between apparently dissimilar texts, or for how one text revises or transforms the other. Keep in mind that not all of the similarities, differences, and transformations you identify will be relevant to an argument about the relationship between the two texts. As you work towards a thesis, you will need to decide which of those similarities, differences, or transformations to focus on. Moreover, unless instructed otherwise, you do not need to allot equal space to each text (unless this 50/50 allocation serves your thesis well, of course). Often you will find that one text helps to develop your analysis of another text. For example, you might analyze the transformation of Ariel’s song from The Tempest in T. S. Eliot’s poem, The Waste Land. Insofar as this analysis is interested in the afterlife of Ariel’s song in a later poem, you would likely allot more space to analyzing allusions to Ariel’s song in The Waste Land (after initially establishing the song’s significance in Shakespeare’s play, of course).
• A response paper A response paper is a great opportunity to practice your close reading skills without having to develop an entire argument. In most cases, a solid approach is to select a rich passage that rewards analysis (for example, one that depicts an important scene or a recurring image) and close read it. While response papers are a flexible genre, they are not invitations for impressionistic accounts of whether you liked the work or a particular character. Instead, you might use your close reading to raise a question about the text—to open up further investigation, rather than to supply a solution.
• A research paper. In most cases, you will receive guidance from the professor on the scope of the research paper. It is likely that you will be expected to consult sources other than the assigned readings. Hollis is your best bet for book titles, and the MLA bibliography (available through e-resources) for articles. When reading articles, make sure that they have been peer reviewed; you might also ask your TF to recommend reputable journals in the field.

Harvard College Writing Program: https://writingproject.fas.harvard.edu/files/hwp/files/bg_writing_english.pdf

In the same way that we talk with our friends about the latest episode of Game of Thrones or newest Marvel movie, scholars communicate their ideas and interpretations of literature through written literary analysis essays. Literary analysis essays make us better readers of literature.

Only through careful reading and well-argued analysis can we reach new understandings and interpretations of texts that are sometimes hundreds of years old. Literary analysis brings new meaning and can shed new light on texts. Building from careful reading and selecting a topic that you are genuinely interested in, your argument supports how you read and understand a text. Using examples from the text you are discussing in the form of textual evidence further supports your reading. Well-researched literary analysis also includes information about what other scholars have written about a specific text or topic.

Literary analysis helps us to refine our ideas, question what we think we know, and often generates new knowledge about literature. Literary analysis essays allow you to discuss your own interpretation of a given text through careful examination of the choices the original author made in the text.

ENG134 – Literary Genres Copyright © by The American Women's College and Jessica Egan is licensed under a Creative Commons Attribution 4.0 International License , except where otherwise noted.

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ELA Common Core Lesson Plans

• Create Characters Lesson Plan
• Creative Writing Lesson Plan: Using Details
• How to Write a Cause and Effect Essay
• How to Write a Conclusion for an Essay Lesson Plan
• How to Write a Persuasive Essay
• How to Write a Reflective Essay
• How to Write an Article Critique and Review
• How to Write an Introduction to an Essay
• How to Write a Problem Solution Essay
• Lesson Plan: Effective Sentence Structure
• Lesson Plan: Improve Writing Style with Improved Sentence Structure
• Logical Fallacies Lesson Plan with Summary & Examples
• Teaching Active and Passive Voice
• Teaching How to Revise a Rough Draft
• Teaching Instructional Articles: How to Write Instructions
• Teaching Word Choice: Using Strong Verbs
• Using Imagery Lesson Plan
• Writing for Audience and Purpose
• Writing Transitions Lesson
• Analyzing Humor in Literature Lesson Plan
• Analyzing Shakespeare Strategies
• Fun Reading Lesson Plan

How to Write a Literary Analysis.

• How to Annotate and Analyze a Poem
• Lesson Plan for Teaching Annotation
• Literary Terms Lesson Plan
• Literature Exemplars – Grades-9-10
• Teaching Short Story Elements
• Using Short Stories to Teach Elements of Literature
• Bill of Rights Lesson Plan
• Fun Ideas for Teaching Language
• Comma Rules: How to Use Commas
• Difference between Denotation and Connotation
• Effective Word Choice Lesson Plan
• Fun Grammar Review Game or Vocabulary & Language Arts
• Lesson Plans for Substitute Teachers and Busy English Teachers
• Lesson Plan: Creating the Perfect Title
• 4.08 – Lesson Plan: Using Semicolons Correctly
• Pronoun-Antecedent Agreement Lesson Plan
• Sentence Combining Made Easy Lesson Plan
• Strategies for Teaching Vocabulary
• Using Tone Effectively Lesson Plan
• 4.12 – Word Choice Lesson Plan: Eliminate and Replace “To Be” Verbs
• Using Voice in Writing Effectively Lesson Plan
• Speaking & Listening
• Teacher Guide Central

Lesson Plan: How to Write a Literary Analysis

Remember when you assigned a literary analysis or an interpretive essay and all you got was 237 summaries of a short story you'd already read 15 times, so you slammed your hand in the filing cabinet drawer until you drew blood and broke every finger?

The better option, of course, would have been to teach students how to write an interpretive essay or to teach students how to write a literary analysis.

Would you like a rubric? Of course, you would: Literary Analysis Generic Rubric .

The Basics of Writing a Literary Analysis

Use the following guidelines for teaching how to write an interpretive essay or how to write a literary analysis:

• The introduction must introduce the literary work, capture the reader's attention , and include a clearly written thesis statement that contains the literary interpretation.
• The body of the essay must support the thesis statement through evidence--facts, examples, summaries--and commentary--opinions, analysis, interpretation, insight.
• The conclusion summarizes the interpretation and allows the writer to draw attention to the most important aspects of the analysis.

An 'A' essay does the following:

• Identifies the author, title, and gives a brief summary of the literary work.
• Provides a clear interpretation of the author's message and purpose.
• Provides details, quotations

Writing and Drafting

• Reread the literary work several times. This seems logical to teachers. It's not logical for students. Read through the first time to get a feel for the work. Reread and look for passages and ideas that stand out or have special meaning.
• Before drafting, brainstorm possible interpretations. A good strategy is to write annotations as you read.
• Discuss the interpretation with others who have read the work. As a teacher, it's important to have class discussions on works being analyzed.
• Make sure you have a clear answer to the following questions as you write or revise:
• What is the main point of the essay? This main point should be clearly identified in the thesis statement.
• What evidence best supports the interpretation ?
• Are there any points that should be added to clarify the interpretation?
• Is there any superfluous evidence that could be deleted?

Common Pitfalls

Writing a Summary : No matter how many times you emphasize that you do not want a summary, you'll still get them. The only way to eliminate this error is to model analysis and give really low grades to students who summarize rather than analyze.

Listing Facts : A close relative of the summary is listing facts. It's also called the, "I'll list as many facts as I can about this literary work and hope the teacher doesn't grade it very closely" syndrome. Explain that listing facts without explaining how the fact supports the thesis statement or why that fact is important is useless.

Having No Evidence : At the other end of the bad analysis spectrum is the no evidence analysis. It consists of nothing but conjecture.

Mini Lesson

Teach how to write a literary analysis or how to write an interpretive essay and avoid the common pitfalls before you assign the essay. Try this exercise.

• Write down a specific quotation or example from a literary work.
• Underneath the quote write the phrase this shows________ .
• Complete the sentence two times for each quotation.
• Discuss answers and point out the difference between analysis and summary.
• Once students have the basic idea down, assign the essay.
• Another option is to have them answer discussion questions in the following format: 1 detail from the story, with 2 pieces of analysis.

Common Core Standards

Teaching how to write a literary analysis satisfies the following ELA Common Core Standards.

• RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
• L.9-10.2 Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.
• RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.
• W.9-10.1 Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.
• W.9-10.1a Introduce precise claim(s), distinguish the claim(s) from alternate or opposing claims, and create an organization that establishes clear relationships among claim(s), counterclaims, reasons, and evidence.
• W.9-10.1b Develop claim(s) and counterclaims fairly, supplying evidence for each while pointing out the strengths and limitations of both in a manner that anticipates the audience's knowledge level and concerns.
• W.9-10.2b   Develop the topic with well-chosen, relevant, and sufficient facts, extended definitions, concrete details, quotations, or other information and examples appropriate to the audience's knowledge of the topic. W.9-10.2a  Introduce a topic; organize complex ideas, concepts, and information to make important connections and distinctions; include formatting (e.g., headings); graphics (e.g., figures, tables); and multimedia when useful to aiding comprehension.
• W.9-10.1c   Use words, phrases, and clauses to link the major sections of the text, create cohesion, and clarify the relationships between claim(s) and reasons, between reasons and evidence, and between claim(s) and counterclaims.
• W.9-10.2f   Provide a concluding statement or section that follows from and supports the information or explanation presented (e.g., articulating implications or the significance of the topic).
• W.9-10.3c   Use a variety of techniques to sequence events so that they build on one another to create a coherent whole.
• W.9-10.4   Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.
• L.9-10.1  Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.

Types of Essays

Step-by-step instructions for writing different types of essays can be accessed by the following links.

• Problem-Solution Essay
• Persuasive Essay
• Narrative Essay
• Instructional Article
• Literary Analysis
• How to Write a Tall-Tale
• How to Write an Article Critique
• Cause and Effect Essay

Last Updated on December 6, 2016 by Trenton Lorcher

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Bell Ringers

Teaching literary analysis in middle school.

My literary analysis resources have basically been seven or eight years in the making.

I don’t know about you, but when I first realized I needed to be teaching literary analysis to a bunch of twelve and thirteen year-olds, I didn’t even know where to begin.

I had been teaching upper elementary in the three years prior, and we had done some on-demand literary analysis reading responses, but really digging into a literary analysis essay overwhelmed me.

Truth be told, my teaching strengths at the time were primarily reading and math. I had always had to dig deep to find my writing teacher voice.

But, I was now a seventh and eighth grade ELA teacher who could no longer hope her students picked up some writing skills along the way.

So I did what any good teacher would do…. I Googled how to teach…

I think I Googled something like, “Examples of middle school literary analysis essays.”

Nothing showed up in Google.

Then I Googled, “How do you teach literary analysis essays?”

I was able to find an example of a college-level literary analysis essay…

… and that was about it.

Because I couldn’t really find what I was looking for, I began creating and practicing each step of the literary analysis essay before I taught it.

This also created a ton of exemplars for my students.

I broke down each area of a literary analysis essay into lessons, chunks, chart papers, reference materials, and writing examples.

In the beginning, it was to get my brain wrapped around things, but not surprisingly it was exactly what my students needed too.

I literally learned how to write a literary analysis essay in front of them.

I would type my rough drafts as they were working and I could stop them as I came to struggles.

My mini-lessons were based on challenges I was having and again, not surprisingly the same challenges they were having.

I could also make reference pages (like the ones in your freebie) as we went along in the unit, because I could see what terms and concepts they needed constant reminders and help with.

Want to know what happened?

My student’s ELA proficiency scores increased 45% in one year and almost 70% in just two years. Those are not typos.

>>  CLICK HERE  << to download  the FREE Literary Analysis Reference Booklet.

• Read more about: Middle School Reading , Middle School Writing

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How often do you hear your students ask how to write a literary analysis paper? When you get to writing in your curriculum, do you get excited? Maybe you have heart palpitations? Perhaps you love the idea of teaching writing or you feel lost in the lesson ideas. Whatever you are feeling related to essay writing, know that teaching writing is a tricky business and while some teachers thrive, many teachers go back to the drawing board again and again to find the perfect lessons. If you are looking for some tips and tricks to improve your current lessons or prefer a new step-by-step process, check out how I teach writing literary analysis in my classroom. 

Before we get started, can I ask? Do you struggle with teaching literary analysis to your students? Do you feel like you are missing key information to help improve your students’ writing? Are your essays just not where you want them to be? Have you repeated the same information over and over again just to have students miss major parts of their essay? If you can relate to any of these questions, then friend I have just the thing for you! Check out my  FREE Literary Analysis Essay Writing Teacher Toolkit ! In this FREE resource, I give you everything you need to transform your students’ writing without having to rewrite all your literary analysis essay lesson plans. If you want to learn more, check it out  HERE .

The Struggle with Literary Analysis

What i was doing with my literary analysis lessons that was not working.

When I first started teaching essay writing and specifically literary analysis essay writing, I would become so frustrated! My students were just not getting it! We would create a thesis statement together and even that would go sideways because students would always forget what I wanted in the thesis. Once you tackled that obstacle, my students would write their paragraphs at their own pace with prompts from me. They were always forgetting all the elements in the body paragraph and their introductions and conclusions did not make sense and were each three sentences long. Even worst, their analysis was more summary than anything else. I felt like I was talking to a wall. Why were my students not listening to me? Were they intentionally ignoring all my great instructions? After semesters of subpar writing and so much reinstruction, I realized that something had to change. That’s when I started rewriting my lessons to help my students better understand literary analysis writing.

Why Literary Analysis Writing is So Important

Literary analysis writing is one of the hardest concepts that I teach my students. They want to summarize the text instead of finding those deeper meanings or connecting life lessons to the reader. But every time I would get frustrated with this writing unit, I pushed through to keep working on it. Why did I put so much effort into this unit? The reason: literary analysis writing is so important! Besides being on the main standards for high school English classrooms, this type of writing helps set up your students up for the entire writing career. The ability to analyze any text is critical. Even if your students aren’t all going on to become great English teachers like you, they will learn how to make inference, analyze the deeper meanings, and make connections to the real world. Plus, I love challenging my students thinking and challenging them to work through something new that they have not done before. As you can see, we can’t just abandon literary analysis writing. So if you want to me see how I teach my students to write literary analysis essay, check out my steps below.

How to Write a Literary Analysis Essay

Step #1: start with how to write a thesis statement example.

The critical first step is having students write their thesis statement. Since this one sentence becomes the foundation for the entire essay, I have my students start here. For our first literary analysis essay, we focus on finding a theme from our novel to analyze. Since students have been working on themes the entire time we have been reading the novel, writing our thesis statement does not take long. I created a guide that shows how to write a thesis statement example so my students have sentence starters and a formula to create their thesis. We also discuss the difference between an explicit thesis statement (where students list their thesis reasons) vs. implicit thesis statement (students only share their opinion from the prompt). Each thesis statement includes the TAG (title, author, and genre), the answer to the prompt and their personal opinion. My guide also provides examples from other essays that they can use as guides to help their own writing. 

I have students submit their thesis statements to me using a Google Form so that I can provide and approve feedback for each student. I allow students to fix this thesis statement as many times as necessary because I believe that students should have a solid thesis statement if I want them to write a strong literary analysis essay. If you want to use the guide that I created for my students, CLICK HERE . 

Step #2: Hold a Writing Literary Analysis Mini Lesson Workshop

Once my students have tackled their thesis statements, we are almost ready to start the real writing. However, before we jump into the analysis writing, I take some time to remind my students how do literary analysis with their examples. Up until this point, my students have written constructed responses using literary analysis but they have not written an essay that shares ides and analysis over multiple paragraphs. The best way to prepare them for their own paragraphs is to hold a writing literary analysis mini lesson. 

I create a set of handouts that show students that walk students through the steps of the analysis process. First, we discuss what I call the Three Levels of Analysis and where to find them in an essay: 

• Level #1 Analysis: Answers that can be found directly in the text and appear in the introduction and transition sentences in an essay
• Level #2 Analysis: Students have to make inferences about what the text is teaching related to their thesis and appear in topics sentences, commentary, and clincher sentences within the essay. 
• Level #3 Analysis: The writer makes a conenction to the real world and answer the question “Why should the reader care?”. Students can find this analysis in their commentary and in their conclusion. 

Once we have learned about the three levels of analysis, we look at the story of Cinderella and answer different levels of analysis questions to help students understand how they would write these types of analysis in their own writing. Then,  I have students identify these three levels in an example paragraph. Furthermore, we work together to dissect another paragraph to separate all the pieces of a body paragraph so students better understand the elements they need to include. We will even write a practice paragraph together if I feel that it is necessary This guide is what I use for my writing literary analysis mini lesson.  

Step #3: Jump in with a Writing a Body Paragraph Lesson

Now that my students can confidently identify literary analysis, they are ready to start writing their essay. I never have students start with the introduction. I explain to my students that their introduction will explain what the essay will discuss and that is much easier to do once you have written the essay. We write our body paragraph in two major steps. First, I provide my students with a body paragraph outline that gives detailed instructions and prompts for each sentence in the body paragraph. 

After students answer the outline questions, the students copy and paste their answers into a Word document and properly format it for MLA. Students then submit this typed paragraph for a grade. I dedicate at least one day for each body paragraph so students have enough time to write each one but not too much time for students to waste their writing days. I prefer to have my students turn in each body paragraph as they write them. I do this for two reasons: first I want to provide students feedback on their writing so they can make adjustments as they write and secondly, I do not want them to procrastinate and wait until the night before to complete their essay. I want to force students to learn how to chunk their writing and work on accomplishing their tasks in a timely manner. Click here to see my body paragraph guide. 

Step #4: Teach How to Write an Introduction to an Essay

After students finish their body paragraphs, we move on to how to write an introduction to an essay. I start the class period by teaching students how an introduction should be formatted. I use the graphic of an upside down triange that is labeled with each part of the introduction. I use this image because I want students to understand that we start very general in our introduction and then gradually become more specific until they reach the tip of the triangle with their thesis statement. Check out my introduction mini lesson HERE . 

With the introduction mini-lesson finished, I provide students with an outline that prompts them for each sentence of the introduction. Once they have completed this outline, students should copy and paste their answers into their Word document and submit the paragraph for a grade.

Step #5: Teach How to Write a Conclusion in an Essay

The final piece of the literary analysis essay is the conclusion. Before the students begin writing this paragraph, I start the class with a conclusion writing mini-lesson. Just like the introduction, I give my students a graphic to show them the proper format of a conclusion. This time instead of an upside-down one, the students look at a right-side-up triangle. I explain to the students that they are now starting with the most specific part of the conclusion at the start: their restated thesis statement. Students should then move into more general life lessons and finally leave the reader with a final thought to end the essay. If you want to see my how to write a conclusion in an essay guide, click HERE . 

With a step-by-step guide, students are now ready to write their conclusion. Students should build their paragraphs in the outline and transfer their answers on a Word doc for submission. At the end of the class period, before students submit their conclusion, I show students how to create a Works Cited. I highly recommend showing students the citations tool on Google Docs which will help students do the work with just a little information.

Step #6: Hold Writing Conferences & Editing Days

Finally, the last step of the process is to give students a chance to edit their work and meet with students to provide feedback. This step in the process can happen throughout the writing days or you wait until after the essay is completed to edit. 

My preference is to have students work on edits after writing the first body paragraph. Part of the reason I find submitting the essay in chunks is that I can provide immediate feedback to students. After the first paragraph is submitted, I immediately grade that paragraph. This is the only paragraph where I will provide detailed feedback on why the student received the grade that they did. Once all the first body paragraphs are graded (normally the next day), I allow students to resubmit that paragraph for a better grade. 

Furthermore, I offer each student the opportunity to meet with me for 10 minutes and receive help and feedback on any of the paragraphs that they have written so far. I create a Google form where students can sign up for a specific day to meet with me. Once again, I prefer to do writing conferences throughout the writing but you can also schedule one or two edit days for your students and meet with them during that time. An added benefit of grading that first paragraph quickly is that you are guaranteed to have corrections ready to discuss with students. I always offer students to resubmit the paragraph we discuss for a new grade even if I have already graded it. 

You have some flexibility for this final step but I definitely encourage you to now skip this step because it is perhaps the most beneficial for your students.

Short on Time: How to Write Literary Analysis Paper In Less Time

Solution #1: combine writing days.

One of the ways to help save you time is to cut down on the writing days you give your students. After students learn how to write a body paragraph, you can shorten the number of days that give students to write each one. Perhaps even combine the body paragraphs together and have more due at the same time. 

You can also combine the introduction and conclusion writing days as well. Since the setup and format of the introduction and conclusion pair together already, you can save some time to help save your writing time.

Solution #2: Cut Out Parts of the Essay

If you know that your students will have other writing opportunities in your course, you could cut down parts of the essay to help ease your schedule. If your focus for this essay is to truly just focus on the literary analysis then you have a few options. Instead of writing the entire essay, have students only write their three body paragraphs. This way you are still providing feedback on the most important part of the essay. 

If you want students to focus on the entire setup of an essay but don’t have a ton of time, you can have students write an introduction, one body paragraph, and the conclusion. Students still learn how to format an essay and you can provide feedback on all three parts of the essay without having to focus on all of the body paragraphs.

More Ideas for How to Write Literary Analysis Paper

In Order For Students To Become Better Writers You Must Teach Critical Thinking

How to Encourage Students to Master the AP Lit Thesis

Using Google Forms to Write a Literary Analysis Essay

When you are ready to have your students write a literary analysis essay, try out my essay writing method. I would love to know how it goes for you! I love hearing how you will put your own special twist on these lessons. I know I can learn something from you too! 

If you want a little help getting started with this new literary analysis essay, I have just the thing for you. Check out my Literary Analysis Essay Writing Bundle . In this bundle, you will have everything you need to teach the literary analysis essay just like I do with my students. I include guides, examples, and step by step outlines. I can wait to see the ways you teach your students how to write literary analysis paper!

Download Your FREE Literary Analysis Essay Writing Teacher Toolkit Today!

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Teaching how to write a literary analysis essay can be tough. If you want to simplify the writing process for your students while making sure you don’t forget any steps, then this toolkit is made for you!

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Welcome to the LitCharts study guide on Toni Cade Bambara's The Lesson . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

The Lesson: Introduction

The lesson: plot summary, the lesson: detailed summary & analysis, the lesson: themes, the lesson: quotes, the lesson: characters, the lesson: symbols, the lesson: theme wheel, brief biography of toni cade bambara.

Historical Context of The Lesson

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• Full Title: The Lesson
• When Published: 1972
• Literary Period: Black Arts Movement
• Genre: Realistic Fiction
• Setting: Harlem and Midtown Manhattan, likely in the 1960s
• Climax: Sylvia lets Sugar run ahead of her and thinks “ain’t nobody gonna beat me at nuthin.”
• Antagonist: Economic inequality
• Point of View: First Person

Extra Credit for The Lesson

Mime Over Matter. Bambara briefly studied the art of mime in Paris, France.

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12.14: Sample Student Literary Analysis Essays

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

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

While reading these examples, ask yourself the following questions:

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

Example 1: Poetry

Victoria Morillo

Instructor Heather Ringo

3 August 2022

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

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

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

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

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

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

Works Cited

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

Example 2: Fiction

Todd Goodwin

Professor Stan Matyshak

Advanced Expository Writing

Sept. 17, 20—

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

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

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

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

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

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

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

Example 3: Poetry

Amy Chisnell

Professor Laura Neary

Writing and Literature

April 17, 20—

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

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

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

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

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

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

’Twas brillig, and the slithy toves

Did gyre and gimble in the wabe;

All mimsy were the borogroves,

An the mome raths outgrabe. (Carroll 164)

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

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

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

All flimsy and miserable were the shabby-looking birds

with mop feathers,

And the lost green pigs bellowed-sneezed-whistled.

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

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

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

’Twas mearly, and the churly pells

Did bimble and ringle in the tink;

All timpy were the brimbledimps,

And the bip plips outlink.

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

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

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

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

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

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

Attribution

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

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Writing a Literary Analysis Essay: Conclusion

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These are the CCS Standards addressed in this lesson:

• RL.5.1: Quote accurately from a text when explaining what the text says explicitly and when drawing inferences from the text.
• RF.5.4: Read with sufficient accuracy and fluency to support comprehension.
• RF.5.4a: Read grade-level text with purpose and understanding.
• RF.5.4c: Use context to confirm or self-correct word recognition and understanding, rereading as necessary.
• W.5.2: Write informative/explanatory texts to examine a topic and convey ideas and information clearly.
• W.5.2a: Introduce a topic clearly, provide a general observation and focus, and group related information logically; include formatting (e.g., headings), illustrations, and multimedia when useful to aiding comprehension.
• W.5.2b: Develop the topic with facts, definitions, concrete details, quotations, or other information and examples related to the topic.
• W.5.2c: Link ideas within and across categories of information using words, phrases, and clauses (e.g., in contrast , especially ).
• W.5.2d: Use precise language and domain-specific vocabulary to inform about or explain the topic.
• W.5.2e: Provide a concluding statement or section related to the information or explanation presented.
• W.5.9: Draw evidence from literary or informational texts to support analysis, reflection, and research.
• W.5.9a: Apply grade 5 Reading standards to literature (e.g., "Compare and contrast two or more characters, settings, or events in a story or a drama, drawing on specific details in the text [e.g., how characters interact]").
• L.5.5: Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.
• I can work with a partner to write a conclusion for our literary analysis. ( W.5.2a, W.5.2b, W.5.2c, W.5.2d, W.5.9a )
• I can read aloud an excerpt of The Most Beautiful Roof in the World with accuracy and fluency. ( RF.5.4a, RF.5.4c )
• Entry Ticket: Guess the Focus Statement ( W.3.2a )
• Conclusion of literary analysis essay ( W.5.2a, W.5.2b, W.5.2c, W.5.2d, W.5.9a )
• Self-assessment on Reading Fluency Checklist ( RF.5.4a, RF.5.4c )
• Based on students' progress in the previous lesson, determine any whole group teaching points. Address these points before students begin writing their conclusions.
• Post: Learning targets, Literary Analysis Essay anchor chart, Working to Become Effective Learners anchor chart, and Fluent Readers Do These Things anchor chart.

Tech and Multimedia

• Work Time A: For students who benefit from hearing the text read aloud multiple times, consider using a text-to-speech tool like Natural Reader , SpeakIt! for Google Chrome, or the Safari reader. Note that to use a web-based text-to-speech tool like SpeakIt! or Safari reader, you will need to create an online doc, such as a Google Doc, containing the text.
• Work Time B: Students use a word processing document, such as a Google Doc, to write their conclusions.
• Work Time B: Students write their conclusion using Speech to Text facilities activated on devices, or using an app or software like Dictation.io .
• Closing and Assessment A: Record students reading the text aloud using software or apps such as Audacity  or GarageBand .

Supports guided in part by CA ELD Standards 5.I.B.6a, 5.I.B.7, 5.I.C.10a, 5.I.C.11a, 5.I.C.12a, 5.II.A.1, 5.II.A.2b, 5.II.C.6

Important points in the lesson itself

• The basic design of this lesson supports ELLs with opportunities to discuss and write a conclusion with another student, thereby creating an ideal context for language development. Students analyze a model conclusion to help them understand expectations. They will also profit from the oral processing in preparation for writing about the concrete language and sensory details evidence and what it helps them understand about the rainforest.
• ELLs may find it challenging to begin writing the conclusion. Writing a conclusion using U.S. conventions may be unfamiliar. Support students by calling special attention to the name and purpose of each piece of the conclusion. Example: Highlight and label where the focus statement is restated and where the author reflects on the ideas in the essay. It may be particularly difficult for students to bring their ideas to the next level in English in the conclusion; consider allowing time for home language use. Discuss each of the checklist criteria and think aloud an example of each for the introduction. See the lesson for additional suggestions.

Levels of support

For lighter support:

• Invite students to analyze the differences between the conclusion and the focus statement in the Entry Ticket: Guess the Focus Statement (answers, for teacher reference). Example: The author uses the phrase just a tiny part of the biodiversity in the rainforest in the focus statement and the phrase just one small part of that in the conclusion. (MMR) Ask:

"Why did the author change tiny part to small part?" (to vary the writing and make it more interesting by using a synonym)

"What does that refer to in the conclusion? (the amazing diversity of life in the rainforest)

"Which phrase in the focus statement is similar to the amazing diversity of life in the rainforest in the conclusion?" (the biodiversity in the rainforest)

"So, what did the author do with the language in the focus statement and the conclusion?" (The author changed the words and phrases but kept similar meaning.)

Tell students that this is a very common approach to writing a focus statement and conclusion.

For heavier support:

• Display four bulleted blanks and ask students to help you label them with the structure for the concrete language and sensory details essay, i.e., Introduction with Focus Statement, Proof Paragraph 1, Proof Paragraph 2, Conclusion.
• To build schema around the concept of a conclusion, read a quick story but omit the ending. When the students notice that the story was not finished, explain that it is just as frustrating when an informative essay does not have an ending. That is why conclusions are so important.
• Provide ELLs who need heavier support with a cloze copy of the Literary Analysis Essay: Conclusion (example, for teacher reference). Leave out key words or phrases and invite students in pairs to fill in the blanks. Consider providing a word bank for them to choose from, too.
• Reinforce the idea that students have persevered to reach particularly challenging learning targets in a language they are still mastering. Congratulate them: "Fantastic! You've written a draft of an entire essay in English! Your skills are getting even better."
• Multiple Means of Representation: Some students may need additional support accessing the various skills and tools needed during the writing process. Visually capture the analysis of the model essay so that students can reference it as they write. As much as possible, provide varied representations for planning writing. Examples:
• Allow students to orally plan their introduction with their partner before writing.
• Model how to write a conclusion paragraph by thinking aloud.
• Multiple Means of Action and Expression: To enable students to synthesize a large amount of information as they write, allow differentiated methods for writing their introduction paragraph. (Example: Invite students to use colored pencils to "paint" the different sentences as part of the checklist criteria. This will visually reinforce the key components of the introductory paragraph and also promote self-monitoring for students.)
• Multiple Means of Engagement: During a writing activity, provide multiple formats of lined paper. (Examples: Skipping lines by giving lined paper with every other line highlighted or starred. Provide paper that has an empty box for sketching an idea before writing it.) Offer students a choice of format that best suits their learning needs. This will not only help them to accomplish the writing task but also to take ownership of their own learning. Build a supportive and accepting classroom culture during the revision process by reminding students that professional writers receive a great deal of feedback from their editors to improve their writing, too. 

Key:  Lesson-Specific Vocabulary (L); Text-Specific Vocabulary (T); Vocabulary Used in Writing (W)

• conclusion (L)
• concrete language, sensory detail (W)
• Entry Ticket: Guess the Focus Statement (one per pair and one to display)
• Entry Ticket: Guess the Focus Statement (answers, for teacher reference)
• Model Essay: Concrete and Sensory Language in The Great Kapok Tree (from Lesson 7; one per student and one to display)
• Literary Analysis Essay anchor chart (begun in Lesson 8; added to during Work Time A; see supporting materials)
• Literary Analysis Essay anchor chart (example, for teacher reference)
• Informative Writing Planning graphic organizer (from Lesson 7; one per student and one to display)
• Literary Analysis Essay: Partner Version (begun in Lesson 8; added to during Work Time B; one per student)
• Working to Become Effective Learners anchor chart (begun in Module 1)
• Informative Writing Checklist (from Lesson 8; added to during Work Time A; one per student)
• Informative Writing Checklist (example, for teacher reference)
• Informative Writing Planning graphic organizer (from Lesson 7; example, for teacher reference)
• Literary Analysis Essay: Conclusion (example, for teacher reference)
• Sticky notes (three per student)
• Fluent Readers Do These Things anchor chart (begun in Module 1)
• Reading Fluency Checklist (from Lesson 8; one per student)
• The Most Beautiful Roof in the World (one per student)

Each unit in the 3-5 Language Arts Curriculum has two standards-based assessments built in, one mid-unit assessment and one end of unit assessment. The module concludes with a performance task at the end of Unit 3 to synthesize their understanding of what they accomplished through supported, standards-based writing.

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“The Lesson” by Toni Cade Bambara: Literary Devices Essay (Review)

Introduction, “the lesson”: brief summary, literary analysis of “the lesson”, works cited.

The issue of inequality of people who come from different social backgrounds has been central for many people in politics, social studies, and literature as well. An American author and social activist, Toni Cade Bambara, develops the topic of inequality in one of her short stories, “The Lesson.” This paper contains a brief summary of “The Lesson” and attempts to analyze the main literary devices used by the author to reveal the theme.

A teacher takes an unusual approach to give a lesson and leads a group of sick African-American children to a costly toy store, which serves as the main setting of the story. The price of the playthings sold there could easily cover all the daily expenses of the children and their families. Therefore the children are astonished at the possibility that there exist people who could buy such outrageously expensive trifles and not get bankrupt.

For the first time in their lives, the children learn the lesson of economic inequality based on racial and class prejudices. The necessity for educating poor children about the injustice of their situation is the main idea of “The Lesson.” The importance of the conflict can be traced through the ways Bambara handles her story in terms of style, audience, and purpose.

The most prominent element of Bambara’s story is the style she applies to render her ideas and point of view. “The Lesson” is told from the first-person perspective, which allows to bring the readers closer to the events described in the story and to make them empathize with the narrator. From the very first lines of the story, the readers can observe the way the narrator perceives the surrounding world and the people.

Toni Bambara employs a wide range of slang vocabulary to emphasize the background of her characters. Numerous samples of informal speech can be found in the text. Words as “nappy hair,” “junkman,” “winos,” “boring-ass things” are indicative of the narrator’s social origins from the outskirts of the city (Bambara 1148). The rudeness of such words as “bitch” and “goddamn” suggests that the narrator has not got any proper upbringing in terms of good manners (Bambara 1149).

Preserving the original colloquial constructions like “some kinda shape” or “whatcha gonna do,” the author succeeds in creating an illusion of live speech addressed directly to the reader (T.Bambara 1148, 1150). Thus, through vivid vocabulary and unceremonious tone of the story, Bambara creates a character of a poorly brought up child from a bad neighborhood.

In connection with the stylistic features of “The Lesson,” it appears reasonable to assume unsophisticated, battered by the hardships of the everyday struggle for life, such people are that the target audience of the story is the people who are like the story narrator. Simple, not interested in deciphering all the complicated phrases of proper language.

They should be addressed in the way that is familiar and understandable to them, and Bambara — through the narrator of the story — treats such people as equal, speaking to them in their language. Appealing to such an audience helps Bambara to achieve the primary purpose of her writing: to make it clear for the poor and the suffering that their living situation is not fair. It is not incidental that the initial reaction of the children brought to the store is astonishment and shock at the ridiculous prices for such simple and seemingly unnecessary things as a paperweight or a toy sailboat (Bambara 1150–1151). On the example of this excursion into the world of the rich person, Bambara demonstrates the unfairness and injustice when some people have barely anything to eat, and others can afford to buy expensive trifles just for fun.

This essay aimed to make an analysis of “The Lesson” by Toni Cade Bambara. The main idea of the text is the necessity of demonstrating the enormous gap that separates the rich from the poor. Once the sick children see this gap, they start analyzing the reasons for such a situation. And once they know the reasons, they can take the needed action for eliminating their suffering and for improving their lives and the lives of their families. An end should be put to living in the dark about the actual state of affairs; only in this way can poor people hope for a better life.

Bambara, Toni Cade. “The Lesson.” Making Literature Matter: An Anthology for Readers and Writers . 4th edition. Eds. John Schilb and John Clifford. Bedford/St. Martin’s, 2009. 1148–53. Print.

• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2023, October 29). "The Lesson" by Toni Cade Bambara: Literary Devices. https://ivypanda.com/essays/critical-analysis-essay-the-lesson-by-toni-cade-bambara/

""The Lesson" by Toni Cade Bambara: Literary Devices." IvyPanda , 29 Oct. 2023, ivypanda.com/essays/critical-analysis-essay-the-lesson-by-toni-cade-bambara/.

IvyPanda . (2023) '"The Lesson" by Toni Cade Bambara: Literary Devices'. 29 October.

IvyPanda . 2023. ""The Lesson" by Toni Cade Bambara: Literary Devices." October 29, 2023. https://ivypanda.com/essays/critical-analysis-essay-the-lesson-by-toni-cade-bambara/.

1. IvyPanda . ""The Lesson" by Toni Cade Bambara: Literary Devices." October 29, 2023. https://ivypanda.com/essays/critical-analysis-essay-the-lesson-by-toni-cade-bambara/.

Bibliography

IvyPanda . ""The Lesson" by Toni Cade Bambara: Literary Devices." October 29, 2023. https://ivypanda.com/essays/critical-analysis-essay-the-lesson-by-toni-cade-bambara/.

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