an essay about a novel

How to Write an Essay About a Novel

Soheila battaglia, 25 jun 2018.

Think about the last novel you read. What about it did you love or hate? The purpose of a literature essay is to examine and evaluate a work of literature in an academic setting. To properly analyze a novel, you must break it down into its constitutive elements, including characterization, symbolism and theme. This process of analysis will help you to better understand the novel as a whole in order to write a thorough, insightful essay.

Explore this article

• Parts of the Novel
• Main Argument in the Essay
• Textual Evidence in the Essay
• Personal Interpretation Based on Evidence

1 Parts of the Novel

During and after reading a novel, the reader should ask a series of questions about aspects of the text to better understand the material. Readers might ask questions like regarding the characters' motivations. Or ask what are the main characters’ virtues and vices? Which of their actions or statements give insight into their morals? What do the characters desire? In terms of the novel's theme, the reader should ask, what is the story about? Are there any social problems conveyed through the novel? What messages does the author communicate regarding shared human experiences and perspectives on reality? If the story uses symbols, what do they represent? You may find that one or more of your responses to these questions will then become the base of your essay.

2 Main Argument in the Essay

The first step to writing an essay about a novel is to determine the main idea or argument. Millsaps College advises students, "Your essay should not just summarize the story's action or the writer's argument; your thesis should make an argument of your own." If the point you are making seems too general or too obvious, be more specific. For example, for the novel "Farenheit 451" by Ray Bradbury, the following main argument is too general: "The novel talks about the dangers of technology." A more specific and effective main argument would be, "Through its depiction of a highly controlled dystopian society, the novel conveys the dangers of using technology as an escape from human emotion and relationships." This main argument is your thesis statement.

3 Textual Evidence in the Essay

The English department at California State University, Channel Islands writes that "it's fine to make a point... but then you must provide examples that support your points." Specific evidence to support your argument includes direct references to the novel. These can be paraphrases, specific details or direct quotations. Remember that textual evidence should only be employed when it directly supports the main idea. That evidence must also be preceded or followed by analysis and an explanation of its relevance to your main point. Textual evidence must always be cited with page numbers from the novel.

4 Personal Interpretation Based on Evidence

Analysis and explanation show the reader you have closely read and reflected on the novel. Instead of summarizing or retelling the story, the focus of a literature essay should be the development of a particular point being made about the text. Your personal interpretation of the material can be conveyed through the conclusions you draw about the motivations and meanings of the novel and any real-world relationships. Those related conclusions need to be based on specific evidence from the text. Options for analyzing the text include looking it through an argument, story structure and author's intent, in a social context or from a psychological standpoint.

• 1 California State University, Channel Islands: Essay Writing Essentials
• 2 University of Nebraska-Lincoln: Some Questions to Use in Analyzing Novels

About the Author

Soheila Battaglia is a published and award-winning author and filmmaker. She holds an MA in literary cultures from New York University and a BA in ethnic studies from UC Berkeley. She is a college professor of literature and composition.

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The Difference between an Essay and a Novel

It's highly unlikely that you'll ever pen a best-selling essay, but you may certainly be the next best-selling author of a novel. Whether your essays and your novels will be at all similar to one another depends only on which type of essay and which type of novels you choose to write.

The purpose of an essay is to inform readers. Writing an essay means researching relevant information in order to understand the topic and be able to form an opinion or offer thoughts about it. Essays also require that you organize your thoughts, usually through some sort of written outline, and state the point of your essay in a thesis statement.

The purpose of a novel is to entertain readers through story-telling, although some very entertaining novels are also informative. Authors of novels use some of the same techniques that can be used for an essay, such as descriptive writing and using personal narratives to make a point. However, a writer penning a novel also has to consider elements like character and plot development, which makes writing a novel quite different from writing an essay.

The average essay is five to seven paragraphs long, which includes an introductory paragraph, three or more body paragraphs, and a conclusion paragraph. Each paragraph should relate back to the thesis statement in the introduction by having topic sentences that expand on the writer's main idea. Essays are very focused pieces of writing that do not stray from the original main point into other subjects.

Novels vary widely in length. Some graphic novels are only 50 pages long, while Madison Cooper's Sironia, Texas is over a million words, or around 1,731 pages long. While novels generally focus on an overarching story theme, writers can explore many different ideas and topics within one novel.

There are four basic types of essay: persuasive (arguing a point and trying to convince readers to agree), descriptive (describing an object or scene by painting a picture with words), expository (recounting facts in an organized way), and narrative (telling a story that makes a point). Like writing a novel, a narrative essay is story-telling, although the story will be much shorter and more focused in a narrative essay.

Novels come in many different types, such as fiction, non-fiction, romance, and history. Novels can be epic, like J.R.R. Tolkien's Lord of the Rings, or just for fun, like Stephanie Meyer's Twilight.

How to Write an Essay About a Novel

How to Set Up a Rhetorical Analysis

Writing an engaging and stimulating essay about a novel can further develop your understanding of the text -- and earn a high grade as well. Even though there are a great number of ways to construct a well-developed essay about a novel, focus on the following prominent elements to ensure success. By analyzing these key elements in relation to a particular novel, you’ll better understand the text and be able to produce a cohesive, successful essay.

The thesis statement is the central argument of your essay. Pinpoint a particular characteristic about the novel that is open for interpretation and develop a position. It must be insightful and possess a clear counter argument. If you believe the protagonist divorced her husband because of her tragic upbringing and not her husband’s infidelity and you are confident the argument will sustain the entire essay, clearly state your position in the introductory paragraph. The thesis statement generally is the final sentence of the introductory paragraph.

Claims & Evidence

The best way to support your thesis statement is to make claims relevant to your central argument in the body of your essay. In order for your claims to have value, they must be justified with specific examples from the text. Analyze, interpret and present specific themes, character motivations, rising actions and all other elements of the novel that you believe support your central argument. The stronger your pieces of evidence are, the easier it will be to prove your claims.

Transitions

Each claim must transition smoothly into the next. Your essay is a single, cohesive piece, and the better your claims and evidence are able to build off one another the stronger and more persuasive your essay will be as a whole. Without smooth transitions from claim to claim and paragraph to paragraph, your reader will have difficulty piecing all of your positions together. This will inhibit them from seeing that your central argument has warrant and value.

Even though your conclusion is the final paragraph of your essay, it isn't simply a summation of everything you’ve already stated in the rest of the essay. The conclusion needs to elevate the essay as a whole and connect the thesis statement, claims and evidence together in a way that hasn’t yet been achieved. Offer an insight into a particular theme or character that hasn’t been addressed yet, and further convince your reader that your central argument is legitimate.

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4.2: How to Analyze a Novel

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Setting is a description of where and when the story takes place.

• Geography, weather, time of day, social conditions?
• What role does setting play in the story? Is it an important part of the plot or theme? Or is it just a backdrop against which the action takes place?
• Study the time period which is also part of the setting
• Does it take place in the present, the past, or the future?
• How does the time period affect the language, atmosphere or social circumstances of the novel?

Characterization

Characterization deals with how the characters are described.

• through dialogue?
• by the way they speak?
• physical appearance? thoughts and feelings?
• interaction – the way they act towards other characters?
• Are they static characters who do not change?
• Do they develop by the end of the story?
• What type of characters are they?
• What qualities stand out?
• Are they stereotypes?
• Are the characters believable?

Plot and structure

The plot is the main sequence of events that make up the story.

• What are the most important events?
• How is the plot structured? Is it linear, chronological or does it move back and forth?
• Are there turning points, a climax and/or an anticlimax?
• Is the plot believable?

Narrator and Point of view

The narrator is the person telling the story. Point of view : whose eyes the story is being told through.

• Who is the narrator or speaker in the story?
• Is the narrator the main character?
• Does the author speak through one of the characters?
• Is the story written in the first person “I” point of view?
• Is the story written in a detached third person “he/she” point of view?
• Is the story written in an “all-knowing” 3rd person who can reveal what all the characters are thinking and doing at all times and in all places?

Conflict or tension is usually the heart of the novel and is related to the main character.

• Is it internal where the character suffers inwardly?
• is it external caused by the surroundings or environment the main character finds himself/herself in?

The theme is the main idea, lesson or message in the novel. It is usually an abstract, universal idea about the human condition, society or life, to name a few.

• How does the theme shine through in the story?
• Are any elements repeated that may suggest a theme?
• What other themes are there?

The author’s style has to do with the author’s vocabulary, use of imagery, tone or feeling of the story. It has to do with his attitude towards the subject. In some novels the tone can be ironic, humorous, cold or dramatic.

• Is the text full of figurative language?
• Does the author use a lot of symbolism? Metaphors, similes? An example of a metaphor is when someone says, “My love, you are a rose”. An example of a simile is “My darling, you are like a rose.”
• What images are used?

Your literary analysis of a novel will often be in the form of an essay or book report where you will be asked to give your opinions of the novel at the end. To conclude, choose the elements that made the greatest impression on you. Point out which characters you liked best or least and always support your arguments. Try to view the novel as a whole and try to give a balanced analysis.

• How to Analyze a Novel. Authored by : Carol Dwankowski, Celia Suzanna Sandor, and Catharine Ruud. Provided by : NDLA. Located at : http://ndla.no/en/node/13288?fag=42 . License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike

Literary Analysis

How to analyze a novel.

Setting is a description of where and when the story takes place.

• Geography, weather, time of day, social conditions?
• What role does setting play in the story? Is it an important part of the plot or theme? Or is it just a backdrop against which the action takes place?
• Study the time period which is also part of the setting
• Does it take place in the present, the past, or the future?
• How does the time period affect the language, atmosphere or social circumstances of the novel?

Characterization

Characterization deals with how the characters are described.

• through dialogue?
• by the way they speak?
• physical appearance? thoughts and feelings?
• interaction – the way they act towards other characters?
• Are they static characters who do not change?
• Do they develop by the end of the story?
• What type of characters are they?
• What qualities stand out?
• Are they stereotypes?
• Are the characters believable?

Plot and structure

The plot is the main sequence of events that make up the story.

• What are the most important events?
• How is the plot structured? Is it linear, chronological or does it move back and forth?
• Are there turning points, a climax and/or an anticlimax?
• Is the plot believable?

Narrator and Point of view

The narrator is the person telling the story. Point of view : whose eyes the story is being told through.

• Who is the narrator or speaker in the story?
• Is the narrator the main character?
• Does the author speak through one of the characters?
• Is the story written in the first person “I” point of view?
• Is the story written in a detached third person “he/she” point of view?
• Is the story written in an “all-knowing” 3rd person who can reveal what all the characters are thinking and doing at all times and in all places?

Conflict or tension is usually the heart of the novel and is related to the main character.

• Is it internal where the character suffers inwardly?
• is it external caused by the surroundings or environment the main character finds himself/herself in?

The theme is the main idea, lesson or message in the novel. It is usually an abstract, universal idea about the human condition, society or life, to name a few.

• How does the theme shine through in the story?
• Are any elements repeated that may suggest a theme?
• What other themes are there?

The author’s style has to do with the author’s vocabulary, use of imagery, tone or feeling of the story. It has to do with his attitude towards the subject. In some novels the tone can be ironic, humorous, cold or dramatic.

• Is the text full of figurative language?
• Does the author use a lot of symbolism? Metaphors, similes? An example of a metaphor is when someone says, “My love, you are a rose”. An example of a simile is “My darling, you are like a rose.”
• What images are used?

Your literary analysis of a novel will often be in the form of an essay or book report where you will be asked to give your opinions of the novel at the end. To conclude, choose the elements that made the greatest impression on you. Point out which characters you liked best or least and always support your arguments. Try to view the novel as a whole and try to give a balanced analysis.

• How to Analyze a Novel. Authored by : Carol Dwankowski, Celia Suzanna Sandor, and Catharine Ruud. Provided by : NDLA. Located at : http://ndla.no/en/node/13288?fag=42 . License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike

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The 10 Best Essay Collections of the Decade

Ever tried. ever failed. no matter..

Friends, it’s true: the end of the decade approaches. It’s been a difficult, anxiety-provoking, morally compromised decade, but at least it’s been populated by some damn fine literature. We’ll take our silver linings where we can.

So, as is our hallowed duty as a literary and culture website—though with full awareness of the potentially fruitless and endlessly contestable nature of the task—in the coming weeks, we’ll be taking a look at the best and most important (these being not always the same) books of the decade that was. We will do this, of course, by means of a variety of lists. We began with the best debut novels , the best short story collections , the best poetry collections , and the best memoirs of the decade , and we have now reached the fifth list in our series: the best essay collections published in English between 2010 and 2019.

The following books were chosen after much debate (and several rounds of voting) by the Literary Hub staff. Tears were spilled, feelings were hurt, books were re-read. And as you’ll shortly see, we had a hard time choosing just ten—so we’ve also included a list of dissenting opinions, and an even longer list of also-rans. As ever, free to add any of your own favorites that we’ve missed in the comments below.

The Top Ten

Oliver sacks, the mind’s eye (2010).

Toward the end of his life, maybe suspecting or sensing that it was coming to a close, Dr. Oliver Sacks tended to focus his efforts on sweeping intellectual projects like On the Move (a memoir), The River of Consciousness (a hybrid intellectual history), and Hallucinations (a book-length meditation on, what else, hallucinations). But in 2010, he gave us one more classic in the style that first made him famous, a form he revolutionized and brought into the contemporary literary canon: the medical case study as essay. In The Mind’s Eye , Sacks focuses on vision, expanding the notion to embrace not only how we see the world, but also how we map that world onto our brains when our eyes are closed and we’re communing with the deeper recesses of consciousness. Relaying histories of patients and public figures, as well as his own history of ocular cancer (the condition that would eventually spread and contribute to his death), Sacks uses vision as a lens through which to see all of what makes us human, what binds us together, and what keeps us painfully apart. The essays that make up this collection are quintessential Sacks: sensitive, searching, with an expertise that conveys scientific information and experimentation in terms we can not only comprehend, but which also expand how we see life carrying on around us. The case studies of “Stereo Sue,” of the concert pianist Lillian Kalir, and of Howard, the mystery novelist who can no longer read, are highlights of the collection, but each essay is a kind of gem, mined and polished by one of the great storytellers of our era.  –Dwyer Murphy, CrimeReads Managing Editor

John Jeremiah Sullivan, Pulphead (2011)

The American essay was having a moment at the beginning of the decade, and Pulphead was smack in the middle. Without any hard data, I can tell you that this collection of John Jeremiah Sullivan’s magazine features—published primarily in GQ , but also in The Paris Review , and Harper’s —was the only full book of essays most of my literary friends had read since Slouching Towards Bethlehem , and probably one of the only full books of essays they had even heard of.

Well, we all picked a good one. Every essay in Pulphead is brilliant and entertaining, and illuminates some small corner of the American experience—even if it’s just one house, with Sullivan and an aging writer inside (“Mr. Lytle” is in fact a standout in a collection with no filler; fittingly, it won a National Magazine Award and a Pushcart Prize). But what are they about? Oh, Axl Rose, Christian Rock festivals, living around the filming of One Tree Hill , the Tea Party movement, Michael Jackson, Bunny Wailer, the influence of animals, and by god, the Miz (of Real World/Road Rules Challenge fame).

But as Dan Kois has pointed out , what connects these essays, apart from their general tone and excellence, is “their author’s essential curiosity about the world, his eye for the perfect detail, and his great good humor in revealing both his subjects’ and his own foibles.” They are also extremely well written, drawing much from fictional techniques and sentence craft, their literary pleasures so acute and remarkable that James Wood began his review of the collection in The New Yorker with a quiz: “Are the following sentences the beginnings of essays or of short stories?” (It was not a hard quiz, considering the context.)

It’s hard not to feel, reading this collection, like someone reached into your brain, took out the half-baked stuff you talk about with your friends, researched it, lived it, and represented it to you smarter and better and more thoroughly than you ever could. So read it in awe if you must, but read it.  –Emily Temple, Senior Editor

Aleksandar Hemon, The Book of My Lives (2013)

Such is the sentence-level virtuosity of Aleksandar Hemon—the Bosnian-American writer, essayist, and critic—that throughout his career he has frequently been compared to the granddaddy of borrowed language prose stylists: Vladimir Nabokov. While it is, of course, objectively remarkable that anyone could write so beautifully in a language they learned in their twenties, what I admire most about Hemon’s work is the way in which he infuses every essay and story and novel with both a deep humanity and a controlled (but never subdued) fury. He can also be damn funny. Hemon grew up in Sarajevo and left in 1992 to study in Chicago, where he almost immediately found himself stranded, forced to watch from afar as his beloved home city was subjected to a relentless four-year bombardment, the longest siege of a capital in the history of modern warfare. This extraordinary memoir-in-essays is many things: it’s a love letter to both the family that raised him and the family he built in exile; it’s a rich, joyous, and complex portrait of a place the 90s made synonymous with war and devastation; and it’s an elegy for the wrenching loss of precious things. There’s an essay about coming of age in Sarajevo and another about why he can’t bring himself to leave Chicago. There are stories about relationships forged and maintained on the soccer pitch or over the chessboard, and stories about neighbors and mentors turned monstrous by ethnic prejudice. As a chorus they sing with insight, wry humor, and unimaginable sorrow. I am not exaggerating when I say that the collection’s devastating final piece, “The Aquarium”—which details his infant daughter’s brain tumor and the agonizing months which led up to her death—remains the most painful essay I have ever read.  –Dan Sheehan, Book Marks Editor

Robin Wall Kimmerer, Braiding Sweetgrass (2013)

Of every essay in my relentlessly earmarked copy of Braiding Sweetgrass , Dr. Robin Wall Kimmerer’s gorgeously rendered argument for why and how we should keep going, there’s one that especially hits home: her account of professor-turned-forester Franz Dolp. When Dolp, several decades ago, revisited the farm that he had once shared with his ex-wife, he found a scene of destruction: The farm’s new owners had razed the land where he had tried to build a life. “I sat among the stumps and the swirling red dust and I cried,” he wrote in his journal.

So many in my generation (and younger) feel this kind of helplessness–and considerable rage–at finding ourselves newly adult in a world where those in power seem determined to abandon or destroy everything that human bodies have always needed to survive: air, water, land. Asking any single book to speak to this helplessness feels unfair, somehow; yet, Braiding Sweetgrass does, by weaving descriptions of indigenous tradition with the environmental sciences in order to show what survival has looked like over the course of many millennia. Kimmerer’s essays describe her personal experience as a Potawotami woman, plant ecologist, and teacher alongside stories of the many ways that humans have lived in relationship to other species. Whether describing Dolp’s work–he left the stumps for a life of forest restoration on the Oregon coast–or the work of others in maple sugar harvesting, creating black ash baskets, or planting a Three Sisters garden of corn, beans, and squash, she brings hope. “In ripe ears and swelling fruit, they counsel us that all gifts are multiplied in relationship,” she writes of the Three Sisters, which all sustain one another as they grow. “This is how the world keeps going.”  –Corinne Segal, Senior Editor

Hilton Als, White Girls (2013)

In a world where we are so often reduced to one essential self, Hilton Als’ breathtaking book of critical essays, White Girls , which meditates on the ways he and other subjects read, project and absorb parts of white femininity, is a radically liberating book. It’s one of the only works of critical thinking that doesn’t ask the reader, its author or anyone he writes about to stoop before the doorframe of complete legibility before entering. Something he also permitted the subjects and readers of his first book, the glorious book-length essay, The Women , a series of riffs and psychological portraits of Dorothy Dean, Owen Dodson, and the author’s own mother, among others. One of the shifts of that book, uncommon at the time, was how it acknowledges the way we inhabit bodies made up of variously gendered influences. To read White Girls now is to experience the utter freedom of this gift and to marvel at Als’ tremendous versatility and intelligence.

He is easily the most diversely talented American critic alive. He can write into genres like pop music and film where being part of an audience is a fantasy happening in the dark. He’s also wired enough to know how the art world builds reputations on the nod of rich white patrons, a significant collision in a time when Jean-Michel Basquiat is America’s most expensive modern artist. Als’ swerving and always moving grip on performance means he’s especially good on describing the effect of art which is volatile and unstable and built on the mingling of made-up concepts and the hard fact of their effect on behavior, such as race. Writing on Flannery O’Connor for instance he alone puts a finger on her “uneasy and unavoidable union between black and white, the sacred and the profane, the shit and the stars.” From Eminem to Richard Pryor, André Leon Talley to Michael Jackson, Als enters the life and work of numerous artists here who turn the fascinations of race and with whiteness into fury and song and describes the complexity of their beauty like his life depended upon it. There are also brief memoirs here that will stop your heart. This is an essential work to understanding American culture.  –John Freeman, Executive Editor

Eula Biss, On Immunity (2014)

We move through the world as if we can protect ourselves from its myriad dangers, exercising what little agency we have in an effort to keep at bay those fears that gather at the edges of any given life: of loss, illness, disaster, death. It is these fears—amplified by the birth of her first child—that Eula Biss confronts in her essential 2014 essay collection, On Immunity . As any great essayist does, Biss moves outward in concentric circles from her own very private view of the world to reveal wider truths, discovering as she does a culture consumed by anxiety at the pervasive toxicity of contemporary life. As Biss interrogates this culture—of privilege, of whiteness—she interrogates herself, questioning the flimsy ways in which we arm ourselves with science or superstition against the impurities of daily existence.

Five years on from its publication, it is dismaying that On Immunity feels as urgent (and necessary) a defense of basic science as ever. Vaccination, we learn, is derived from vacca —for cow—after the 17th-century discovery that a small application of cowpox was often enough to inoculate against the scourge of smallpox, an etymological digression that belies modern conspiratorial fears of Big Pharma and its vaccination agenda. But Biss never scolds or belittles the fears of others, and in her generosity and openness pulls off a neat (and important) trick: insofar as we are of the very world we fear, she seems to be suggesting, we ourselves are impure, have always been so, permeable, vulnerable, yet so much stronger than we think.  –Jonny Diamond, Editor-in-Chief 

Rebecca Solnit, The Mother of All Questions (2016)

When Rebecca Solnit’s essay, “Men Explain Things to Me,” was published in 2008, it quickly became a cultural phenomenon unlike almost any other in recent memory, assigning language to a behavior that almost every woman has witnessed—mansplaining—and, in the course of identifying that behavior, spurring a movement, online and offline, to share the ways in which patriarchal arrogance has intersected all our lives. (It would also come to be the titular essay in her collection published in 2014.) The Mother of All Questions follows up on that work and takes it further in order to examine the nature of self-expression—who is afforded it and denied it, what institutions have been put in place to limit it, and what happens when it is employed by women. Solnit has a singular gift for describing and decoding the misogynistic dynamics that govern the world so universally that they can seem invisible and the gendered violence that is so common as to seem unremarkable; this naming is powerful, and it opens space for sharing the stories that shape our lives.

The Mother of All Questions, comprised of essays written between 2014 and 2016, in many ways armed us with some of the tools necessary to survive the gaslighting of the Trump years, in which many of us—and especially women—have continued to hear from those in power that the things we see and hear do not exist and never existed. Solnit also acknowledges that labels like “woman,” and other gendered labels, are identities that are fluid in reality; in reviewing the book for The New Yorker , Moira Donegan suggested that, “One useful working definition of a woman might be ‘someone who experiences misogyny.'” Whichever words we use, Solnit writes in the introduction to the book that “when words break through unspeakability, what was tolerated by a society sometimes becomes intolerable.” This storytelling work has always been vital; it continues to be vital, and in this book, it is brilliantly done.  –Corinne Segal, Senior Editor

Valeria Luiselli, Tell Me How It Ends (2017)

The newly minted MacArthur fellow Valeria Luiselli’s four-part (but really six-part) essay  Tell Me How It Ends: An Essay in Forty Questions  was inspired by her time spent volunteering at the federal immigration court in New York City, working as an interpreter for undocumented, unaccompanied migrant children who crossed the U.S.-Mexico border. Written concurrently with her novel  Lost Children Archive  (a fictional exploration of the same topic), Luiselli’s essay offers a fascinating conceit, the fashioning of an argument from the questions on the government intake form given to these children to process their arrivals. (Aside from the fact that this essay is a heartbreaking masterpiece, this is such a  good  conceit—transforming a cold, reproducible administrative document into highly personal literature.) Luiselli interweaves a grounded discussion of the questionnaire with a narrative of the road trip Luiselli takes with her husband and family, across America, while they (both Mexican citizens) wait for their own Green Card applications to be processed. It is on this trip when Luiselli reflects on the thousands of migrant children mysteriously traveling across the border by themselves. But the real point of the essay is to actually delve into the real stories of some of these children, which are agonizing, as well as to gravely, clearly expose what literally happens, procedural, when they do arrive—from forms to courts, as they’re swallowed by a bureaucratic vortex. Amid all of this, Luiselli also takes on more, exploring the larger contextual relationship between the United States of America and Mexico (as well as other countries in Central America, more broadly) as it has evolved to our current, adverse moment.  Tell Me How It Ends  is so small, but it is so passionate and vigorous: it desperately accomplishes in its less-than-100-pages-of-prose what centuries and miles and endless records of federal bureaucracy have never been able, and have never cared, to do: reverse the dehumanization of Latin American immigrants that occurs once they set foot in this country.  –Olivia Rutigliano, CrimeReads Editorial Fellow

Zadie Smith, Feel Free (2018)

In the essay “Meet Justin Bieber!” in Feel Free , Zadie Smith writes that her interest in Justin Bieber is not an interest in the interiority of the singer himself, but in “the idea of the love object”. This essay—in which Smith imagines a meeting between Bieber and the late philosopher Martin Buber (“Bieber and Buber are alternative spellings of the same German surname,” she explains in one of many winning footnotes. “Who am I to ignore these hints from the universe?”). Smith allows that this premise is a bit premise -y: “I know, I know.” Still, the resulting essay is a very funny, very smart, and un-tricky exploration of individuality and true “meeting,” with a dash of late capitalism thrown in for good measure. The melding of high and low culture is the bread and butter of pretty much every prestige publication on the internet these days (and certainly of the Twitter feeds of all “public intellectuals”), but the essays in Smith’s collection don’t feel familiar—perhaps because hers is, as we’ve long known, an uncommon skill. Though I believe Smith could probably write compellingly about anything, she chooses her subjects wisely. She writes with as much electricity about Brexit as the aforementioned Beliebers—and each essay is utterly engrossing. “She contains multitudes, but her point is we all do,” writes Hermione Hoby in her review of the collection in The New Republic . “At the same time, we are, in our endless difference, nobody but ourselves.”  –Jessie Gaynor, Social Media Editor

Tressie McMillan Cottom, Thick: And Other Essays (2019)

Tressie McMillan Cottom is an academic who has transcended the ivory tower to become the sort of public intellectual who can easily appear on radio or television talk shows to discuss race, gender, and capitalism. Her collection of essays reflects this duality, blending scholarly work with memoir to create a collection on the black female experience in postmodern America that’s “intersectional analysis with a side of pop culture.” The essays range from an analysis of sexual violence, to populist politics, to social media, but in centering her own experiences throughout, the collection becomes something unlike other pieces of criticism of contemporary culture. In explaining the title, she reflects on what an editor had said about her work: “I was too readable to be academic, too deep to be popular, too country black to be literary, and too naïve to show the rigor of my thinking in the complexity of my prose. I had wanted to create something meaningful that sounded not only like me, but like all of me. It was too thick.” One of the most powerful essays in the book is “Dying to be Competent” which begins with her unpacking the idiocy of LinkedIn (and the myth of meritocracy) and ends with a description of her miscarriage, the mishandling of black woman’s pain, and a condemnation of healthcare bureaucracy. A finalist for the 2019 National Book Award for Nonfiction, Thick confirms McMillan Cottom as one of our most fearless public intellectuals and one of the most vital.  –Emily Firetog, Deputy Editor

Dissenting Opinions

The following books were just barely nudged out of the top ten, but we (or at least one of us) couldn’t let them pass without comment.

Elif Batuman, The Possessed (2010)

In The Possessed Elif Batuman indulges her love of Russian literature and the result is hilarious and remarkable. Each essay of the collection chronicles some adventure or other that she had while in graduate school for Comparative Literature and each is more unpredictable than the next. There’s the time a “well-known 20th-centuryist” gave a graduate student the finger; and the time when Batuman ended up living in Samarkand, Uzbekistan, for a summer; and the time that she convinced herself Tolstoy was murdered and spent the length of the Tolstoy Conference in Yasnaya Polyana considering clues and motives. Rich in historic detail about Russian authors and literature and thoughtfully constructed, each essay is an amalgam of critical analysis, cultural criticism, and serious contemplation of big ideas like that of identity, intellectual legacy, and authorship. With wit and a serpentine-like shape to her narratives, Batuman adopts a form reminiscent of a Socratic discourse, setting up questions at the beginning of her essays and then following digressions that more or less entreat the reader to synthesize the answer for herself. The digressions are always amusing and arguably the backbone of the collection, relaying absurd anecdotes with foreign scholars or awkward, surreal encounters with Eastern European strangers. Central also to the collection are Batuman’s intellectual asides where she entertains a theory—like the “problem of the person”: the inability to ever wholly capture one’s character—that ultimately layer the book’s themes. “You are certainly my most entertaining student,” a professor said to Batuman. But she is also curious and enthusiastic and reflective and so knowledgeable that she might even convince you (she has me!) that you too love Russian literature as much as she does. –Eleni Theodoropoulos, Editorial Fellow

Roxane Gay, Bad Feminist (2014)

Roxane Gay’s now-classic essay collection is a book that will make you laugh, think, cry, and then wonder, how can cultural criticism be this fun? My favorite essays in the book include Gay’s musings on competitive Scrabble, her stranded-in-academia dispatches, and her joyous film and television criticism, but given the breadth of topics Roxane Gay can discuss in an entertaining manner, there’s something for everyone in this one. This book is accessible because feminism itself should be accessible – Roxane Gay is as likely to draw inspiration from YA novels, or middle-brow shows about friendship, as she is to introduce concepts from the academic world, and if there’s anyone I trust to bridge the gap between high culture, low culture, and pop culture, it’s the Goddess of Twitter. I used to host a book club dedicated to radical reads, and this was one of the first picks for the club; a week after the book club met, I spied a few of the attendees meeting in the café of the bookstore, and found out that they had bonded so much over discussing  Bad Feminist  that they couldn’t wait for the next meeting of the book club to keep discussing politics and intersectionality, and that, in a nutshell, is the power of Roxane. –Molly Odintz, CrimeReads Associate Editor

Rivka Galchen, Little Labors (2016)

Generally, I find stories about the trials and tribulations of child-having to be of limited appeal—useful, maybe, insofar as they offer validation that other people have also endured the bizarre realities of living with a tiny human, but otherwise liable to drift into the musings of parents thrilled at the simple fact of their own fecundity, as if they were the first ones to figure the process out (or not). But Little Labors is not simply an essay collection about motherhood, perhaps because Galchen initially “didn’t want to write about” her new baby—mostly, she writes, “because I had never been interested in babies, or mothers; in fact, those subjects had seemed perfectly not interesting to me.” Like many new mothers, though, Galchen soon discovered her baby—which she refers to sometimes as “the puma”—to be a preoccupying thought, demanding to be written about. Galchen’s interest isn’t just in her own progeny, but in babies in literature (“Literature has more dogs than babies, and also more abortions”), The Pillow Book , the eleventh-century collection of musings by Sei Shōnagon, and writers who are mothers. There are sections that made me laugh out loud, like when Galchen continually finds herself in an elevator with a neighbor who never fails to remark on the puma’s size. There are also deeper, darker musings, like the realization that the baby means “that it’s not permissible to die. There are days when this does not feel good.” It is a slim collection that I happened to read at the perfect time, and it remains one of my favorites of the decade. –Emily Firetog, Deputy Editor

Charlie Fox, This Young Monster (2017)

On social media as in his writing, British art critic Charlie Fox rejects lucidity for allusion and doesn’t quite answer the Twitter textbox’s persistent question: “What’s happening?” These days, it’s hard to tell.  This Young Monster  (2017), Fox’s first book,was published a few months after Donald Trump’s election, and at one point Fox takes a swipe at a man he judges “direct from a nightmare and just a repulsive fucking goon.” Fox doesn’t linger on politics, though, since most of the monsters he looks at “embody otherness and make it into art, ripping any conventional idea of beauty to shreds and replacing it with something weird and troubling of their own invention.”

If clichés are loathed because they conform to what philosopher Georges Bataille called “the common measure,” then monsters are rebellious non-sequiturs, comedic or horrific derailments from a classical ideal. Perverts in the most literal sense, monsters have gone astray from some “proper” course. The book’s nine chapters, which are about a specific monster or type of monster, are full of callbacks to familiar and lesser-known media. Fox cites visual art, film, songs, and books with the screwy buoyancy of a savant. Take one of his essays, “Spook House,” framed as a stage play with two principal characters, Klaus (“an intoxicated young skinhead vampire”) and Hermione (“a teen sorceress with green skin and jet-black hair” who looks more like The Wicked Witch than her namesake). The chorus is a troupe of trick-or-treaters. Using the filmmaker Cameron Jamie as a starting point, the rest is free association on gothic decadence and Detroit and L.A. as cities of the dead. All the while, Klaus quotes from  Artforum ,  Dazed & Confused , and  Time Out. It’s a technical feat that makes fictionalized dialogue a conveyor belt for cultural criticism.

In Fox’s imagination, David Bowie and the Hydra coexist alongside Peter Pan, Dennis Hopper, and the maenads. Fox’s book reaches for the monster’s mask, not really to peel it off but to feel and smell the rubber schnoz, to know how it’s made before making sure it’s still snugly set. With a stylistic blend of arthouse suavity and B-movie chic,  This Young Monster considers how monsters in culture are made. Aren’t the scariest things made in post-production? Isn’t the creature just duplicity, like a looping choir or a dubbed scream? –Aaron Robertson, Assistant Editor

Elena Passarello, Animals Strike Curious Poses (2017)

Elena Passarello’s collection of essays Animals Strike Curious Poses picks out infamous animals and grants them the voice, narrative, and history they deserve. Not only is a collection like this relevant during the sixth extinction but it is an ambitious historical and anthropological undertaking, which Passarello has tackled with thorough research and a playful tone that rather than compromise her subject, complicates and humanizes it. Passarello’s intention is to investigate the role of animals across the span of human civilization and in doing so, to construct a timeline of humanity as told through people’s interactions with said animals. “Of all the images that make our world, animal images are particularly buried inside us,” Passarello writes in her first essay, to introduce us to the object of the book and also to the oldest of her chosen characters: Yuka, a 39,000-year-old mummified woolly mammoth discovered in the Siberian permafrost in 2010. It was an occasion so remarkable and so unfathomable given the span of human civilization that Passarello says of Yuka: “Since language is epically younger than both thought and experience, ‘woolly mammoth’ means, to a human brain, something more like time.” The essay ends with a character placing a hand on a cave drawing of a woolly mammoth, accompanied by a phrase which encapsulates the author’s vision for the book: “And he becomes the mammoth so he can envision the mammoth.” In Passarello’s hands the imagined boundaries between the animal, natural, and human world disintegrate and what emerges is a cohesive if baffling integrated history of life. With the accuracy and tenacity of a journalist and the spirit of a storyteller, Elena Passarello has assembled a modern bestiary worthy of contemplation and awe. –Eleni Theodoropoulos, Editorial Fellow

Esmé Weijun Wang, The Collected Schizophrenias (2019)

Esmé Weijun Wang’s collection of essays is a kaleidoscopic look at mental health and the lives affected by the schizophrenias. Each essay takes on a different aspect of the topic, but you’ll want to read them together for a holistic perspective. Esmé Weijun Wang generously begins The Collected Schizophrenias by acknowledging the stereotype, “Schizophrenia terrifies. It is the archetypal disorder of lunacy.” From there, she walks us through the technical language, breaks down the Diagnostic and Statistical Manual ( DSM-5 )’s clinical definition. And then she gets very personal, telling us about how she came to her own diagnosis and the way it’s touched her daily life (her relationships, her ideas about motherhood). Esmé Weijun Wang is uniquely situated to write about this topic. As a former lab researcher at Stanford, she turns a precise, analytical eye to her experience while simultaneously unfolding everything with great patience for her reader. Throughout, she brilliantly dissects the language around mental health. (On saying “a person living with bipolar disorder” instead of using “bipolar” as the sole subject: “…we are not our diseases. We are instead individuals with disorders and malfunctions. Our conditions lie over us like smallpox blankets; we are one thing and the illness is another.”) She pinpoints the ways she arms herself against anticipated reactions to the schizophrenias: high fashion, having attended an Ivy League institution. In a particularly piercing essay, she traces mental illness back through her family tree. She also places her story within more mainstream cultural contexts, calling on groundbreaking exposés about the dangerous of institutionalization and depictions of mental illness in television and film (like the infamous Slender Man case, in which two young girls stab their best friend because an invented Internet figure told them to). At once intimate and far-reaching, The Collected Schizophrenias is an informative and important (and let’s not forget artful) work. I’ve never read a collection quite so beautifully-written and laid-bare as this. –Katie Yee, Book Marks Assistant Editor

Ross Gay, The Book of Delights (2019)

When Ross Gay began writing what would become The Book of Delights, he envisioned it as a project of daily essays, each focused on a moment or point of delight in his day. This plan quickly disintegrated; on day four, he skipped his self-imposed assignment and decided to “in honor and love, delight in blowing it off.” (Clearly, “blowing it off” is a relative term here, as he still produced the book.) Ross Gay is a generous teacher of how to live, and this moment of reveling in self-compassion is one lesson among many in The Book of Delights , which wanders from moments of connection with strangers to a shade of “red I don’t think I actually have words for,” a text from a friend reading “I love you breadfruit,” and “the sun like a guiding hand on my back, saying everything is possible. Everything .”

Gay does not linger on any one subject for long, creating the sense that delight is a product not of extenuating circumstances, but of our attention; his attunement to the possibilities of a single day, and awareness of all the small moments that produce delight, are a model for life amid the warring factions of the attention economy. These small moments range from the physical–hugging a stranger, transplanting fig cuttings–to the spiritual and philosophical, giving the impression of sitting beside Gay in his garden as he thinks out loud in real time. It’s a privilege to listen. –Corinne Segal, Senior Editor

Honorable Mentions

A selection of other books that we seriously considered for both lists—just to be extra about it (and because decisions are hard).

Terry Castle, The Professor and Other Writings (2010) · Joyce Carol Oates, In Rough Country (2010) · Geoff Dyer, Otherwise Known as the Human Condition (2011) · Christopher Hitchens, Arguably (2011) ·  Roberto Bolaño, tr. Natasha Wimmer, Between Parentheses (2011) · Dubravka Ugresic, tr. David Williams, Karaoke Culture (2011) · Tom Bissell, Magic Hours (2012)  · Kevin Young, The Grey Album (2012) · William H. Gass, Life Sentences: Literary Judgments and Accounts (2012) · Mary Ruefle, Madness, Rack, and Honey (2012) · Herta Müller, tr. Geoffrey Mulligan, Cristina and Her Double (2013) · Leslie Jamison, The Empathy Exams (2014)  · Meghan Daum, The Unspeakable (2014)  · Daphne Merkin, The Fame Lunches (2014)  · Charles D’Ambrosio, Loitering (2015) · Wendy Walters, Multiply/Divide (2015) · Colm Tóibín, On Elizabeth Bishop (2015) ·  Renee Gladman, Calamities (2016)  · Jesmyn Ward, ed. The Fire This Time (2016)  · Lindy West, Shrill (2016)  · Mary Oliver, Upstream (2016)  · Emily Witt, Future Sex (2016)  · Olivia Laing, The Lonely City (2016)  · Mark Greif, Against Everything (2016)  · Durga Chew-Bose, Too Much and Not the Mood (2017)  · Sarah Gerard, Sunshine State (2017)  · Jim Harrison, A Really Big Lunch (2017)  · J.M. Coetzee, Late Essays: 2006-2017 (2017) · Melissa Febos, Abandon Me (2017)  · Louise Glück, American Originality (2017)  · Joan Didion, South and West (2017)  · Tom McCarthy, Typewriters, Bombs, Jellyfish (2017)  · Hanif Abdurraqib, They Can’t Kill Us Until they Kill Us (2017)  · Ta-Nehisi Coates, We Were Eight Years in Power (2017)  ·  Samantha Irby, We Are Never Meeting in Real Life (2017)  · Alexander Chee, How to Write an Autobiographical Novel (2018)  · Alice Bolin, Dead Girls (2018)  · Marilynne Robinson, What Are We Doing Here? (2018)  · Lorrie Moore, See What Can Be Done (2018)  · Maggie O’Farrell, I Am I Am I Am (2018)  · Ijeoma Oluo, So You Want to Talk About Race (2018)  · Rachel Cusk, Coventry (2019)  · Jia Tolentino, Trick Mirror (2019)  · Emily Bernard, Black is the Body (2019)  · Toni Morrison, The Source of Self-Regard (2019)  · Margaret Renkl, Late Migrations (2019)  ·  Rachel Munroe, Savage Appetites (2019)  · Robert A. Caro,  Working  (2019) · Arundhati Roy, My Seditious Heart (2019).

Emily Temple

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How to Write a Summary (Examples Included)

Ashley Shaw

Have you ever recommended a book to someone and given them a quick overview? Then you’ve created a summary before!

Summarizing is a common part of everyday communication. It feels easy when you’re recounting what happened on your favorite show, but what do you do when the information gets a little more complex?

Written summaries come with their own set of challenges. You might ask yourself:

• What details are unnecessary?
• How do you put this in your own words without changing the meaning?
• How close can you get to the original without plagiarizing it?
• How long should it be?

The answers to these questions depend on the type of summary you are doing and why you are doing it.

A summary in an academic setting is different to a professional summary—and both of those are very different to summarizing a funny story you want to tell your friends.

One thing they all have in common is that you need to relay information in the clearest way possible to help your reader understand. We’ll look at some different forms of summary, and give you some tips on each.

Let’s get started!

What Is a Summary?

How do you write a summary, how do you write an academic summary, what are the four types of academic summaries, how do i write a professional summary, writing or telling a summary in personal situations, summarizing summaries.

A summary is a shorter version of a larger work. Summaries are used at some level in almost every writing task, from formal documents to personal messages.

When you write a summary, you have an audience that doesn’t know every single thing you know.

When you want them to understand your argument, topic, or stance, you may need to explain some things to catch them up.

Instead of having them read the article or hear every single detail of the story or event, you instead give them a brief overview of what they need to know.

Academic, professional, and personal summaries each require you to consider different things, but there are some key rules they all have in common.

Let’s go over a few general guides to writing a summary first.

1. A summary should always be shorter than the original work, usually considerably.

Even if your summary is the length of a full paper, you are likely summarizing a book or other significantly longer work.

2. A summary should tell the reader the highlights of what they need to know without giving them unnecessary details.

3. It should also include enough details to give a clear and honest picture.

For example, if you summarize an article that says “ The Office is the greatest television show of all time,” but don’t mention that they are specifically referring to sitcoms, then you changed the meaning of the article. That’s a problem! Similarly, if you write a summary of your job history and say you volunteered at a hospital for the last three years, but you don’t add that you only went twice in that time, it becomes a little dishonest.

4. Summaries shouldn’t contain personal opinion.

While in the longer work you are creating you might use opinion, within the summary itself, you should avoid all personal opinion. A summary is different than a review. In this moment, you aren’t saying what you think of the work you are summarizing, you are just giving your audience enough information to know what the work says or did.

Now that we have a good idea of what summaries are in general, let’s talk about some specific types of summary you will likely have to do at some point in your writing life.

An academic summary is one you will create for a class or in other academic writing. The exact elements you will need to include depend on the assignment itself.

However, when you’re asked for an academic summary, this usually this means one of five things, all of which are pretty similar:

• You need to do a presentation in which you talk about an article, book, or report.
• You write a summary paper in which the entire paper is a summary of a specific work.
• You summarize a class discussion, lesson, or reading in the form of personal notes or a discussion board post.
• You do something like an annotated bibliography where you write short summaries of multiple works in preparation of a longer assignment.
• You write quick summaries within the body of another assignment . For example, in an argumentative essay, you will likely need to have short summaries of the sources you use to explain their argument before getting into how the source helps you prove your point.

Regardless of what type of summary you are doing, though, there are a few steps you should always follow:

• Skim the work you are summarizing before you read it. Notice what stands out to you.
• Next, read it in depth . Do the same things stand out?
• Put the full text away and write in a few sentences what the main idea or point was.
• Go back and compare to make sure you didn’t forget anything.
• Expand on this to write and then edit your summary.

Each type of academic summary requires slightly different things. Let’s get down to details.

How Do I Write a Summary Paper?

Sometimes teachers assign something called a summary paper . In this, the entire thing is a summary of one article, book, story, or report.

To understand how to write this paper, let’s talk a little bit about the purpose of such an assignment.

A summary paper is usually given to help a teacher see how well a student understands a reading assignment, but also to help the student digest the reading. Sometimes, it can be difficult to understand things we read right away.

However, a good way to process the information is to put it in our own words. That is the point of a summary paper.

A summary paper is:

• A way to explain in our own words what happened in a paper, book, etc.
• A time to think about what was important in the paper, etc.
• A time to think about the meaning and purpose behind the paper, etc.

Here are some things that a summary paper is not:

• A review. Your thoughts and opinions on the thing you are summarizing don’t need to be here unless otherwise specified.
• A comparison. A comparison paper has a lot of summary in it, but it is different than a summary paper. In this, you are just saying what happened, but you aren’t saying places it could have been done differently.
• A paraphrase (though you might have a little paraphrasing in there). In the section on using summary in longer papers, I talk more about the difference between summaries, paraphrases, and quotes.

Because a summary paper is usually longer than other forms of summary, you will be able to chose more detail. However, it still needs to focus on the important events. Summary papers are usually shorter papers.

Let’s say you are writing a 3–4 page summary. You are likely summarizing a full book or an article or short story, which will be much longer than 3–4 pages.

Imagine that you are the author of the work, and your editor comes to you and says they love what you wrote, but they need it to be 3–4 pages instead.

How would you tell that story (argument, idea, etc.) in that length without losing the heart or intent behind it? That is what belongs in a summary paper.

How Do I Write Useful Academic Notes?

Sometimes, you need to write a summary for yourself in the form of notes or for your classmates in the form of a discussion post.

You might not think you need a specific approach for this. After all, only you are going to see it.

However, summarizing for yourself can sometimes be the most difficult type of summary. If you try to write down everything your teacher says, your hand will cramp and you’ll likely miss a lot.

Yet, transcribing doesn’t work because studies show that writing things down (not typing them) actually helps you remember them better.

So how do you find the balance between summarizing the lessons without leaving out important points?

There are some tips for this:

• If your professor writes it on the board, it is probably important.
• What points do your textbooks include when summarizing information? Use these as a guide.
• Write the highlight of every X amount of time, with X being the time you can go without missing anything or getting tired. This could be one point per minute, or three per five minutes, etc.

How Do I Create an Annotated Biography?

An annotated bibliography requires a very specific style of writing. Often, you will write these before a longer research paper . They will ask you to find a certain amount of articles and write a short annotation for each of them.

While an annotation is more than just a summary, it usually starts with a summary of the work. This will be about 2–3 sentences long. Because you don’t have a lot of room, you really have to think about what the most important thing the work says is.

This will basically ask you to explain the point of the article in these couple of sentences, so you should focus on the main point when expressing it.

Here is an example of a summary section within an annotation about this post:

“In this post, the author explains how to write a summary in different types of settings. She walks through academic, professional, and personal summaries. Ultimately, she claims that summaries should be short explanations that get the audience caught up on the topic without leaving out details that would change the meaning.”

Can I Write a Summary Within an Essay?

Perhaps the most common type of summary you will ever do is a short summary within a longer paper.

For example, if you have to write an argumentative essay, you will likely need to use sources to help support your argument.

However, there is a good chance that your readers won’t have read those same sources.

So, you need to give them enough detail to understand your topic without spending too much time explaining and not enough making your argument.

While this depends on exactly how you are using summary in your paper, often, a good amount of summary is the same amount you would put in an annotation.

Just a few sentences will allow the reader to get an idea of the work before moving on to specific parts of it that might help your argument.

What’s the Difference Between Summarizing, Paraphrasing, and Using Quotes?

One important thing to recognize when using summaries in academic settings is that summaries are different than paraphrases or quotes.

A summary is broader and more general. A paraphrase, on the other hand, puts specific parts into your own words. A quote uses the exact words of the original. All of them, however, need to be cited.

Let’s look at an example:

Take these words by Thomas J. Watson:

”Would you like me to give you a formula for success? It’s quite simple, really. Double your rate of failure. You are thinking of failure as the enemy of success. But it isn’t as all. You can be discouraged by failure—or you can learn from it. So go ahead and make mistakes. Make all you can. Because, remember, that’s where you will find success.”

Let’s say I was told to write a summary, a paraphrase, and a quote about this statement. This is what it might look like:

Summary: Thomas J. Watson said that the key to success is actually to fail more often. (This is broad and doesn’t go into details about what he says, but it still gives him credit.)

Paraphrase: Thomas J. Watson, on asking if people would like his formula for success, said that the secret was to fail twice as much. He claimed that when you decide to learn from your mistakes instead of being disappointed by them, and when you start making a lot of them, you will actually find more success. (This includes most of the details, but it is in my own words, while still crediting the source.)

Quote: Thomas J. Watson said, ”Would you like me to give you a formula for success? It’s quite simple, really. Double your rate of failure. You are thinking of failure as the enemy of success. But it isn’t at all. You can be discouraged by failure—or you can learn from it. So go ahead and make mistakes. Make all you can. Because, remember, that’s where you will find success.” (This is the exact words of the original with quotation marks and credit given.)

Avoiding Plagiarism

One of the hardest parts about summarizing someone else’s writing is avoiding plagiarism .

That’s why I have a few rules/tips for you when summarizing anything:

1. Always cite.

If you are talking about someone else’s work in any means, cite your source. If you are summarizing the entire work, all you probably need to do (depending on style guidelines) is say the author’s name. However, if you are summarizing a specific chapter or section, you should state that specifically. Finally, you should make sure to include it in your Work Cited or Reference page.

2. Change the wording.

Sometimes when people are summarizing or paraphrasing a work, they get too close to the original, and actually use the exact words. Unless you use quotation marks, this is plagiarism. However, a good way to avoid this is to hide the article while you are summarizing it. If you don’t have it in front of you, you are less likely to accidentally use the exact words. (However, after you are done, double check that you didn’t miss anything important or give wrong details.)

3. Use a plagiarism checker.

Of course, when you are writing any summary, especially academic summaries, it can be easy to cross the line into plagiarism. If this is a place where you struggle, then ProWritingAid can help.

Just use our Plagiarism Report . It’ll highlight any unoriginal text in your document so you can make sure you are citing everything correctly and summarizing in your own words.

Find out more about ProWritingAid plagiarism bundles.

Along with academic summaries, you might sometimes need to write professional summaries. Often, this means writing a summary about yourself that shows why you are qualified for a position or organization.

In this section, let’s talk about two types of professional summaries: a LinkedIn summary and a summary section within a resume.

How Do I Write My LinkedIn Bio?

LinkedIn is all about professional networking. It offers you a chance to share a brief glimpse of your professional qualifications in a paragraph or two.

This can then be sent to professional connections, or even found by them without you having to reach out. This can help you get a job or build your network.

Your summary is one of the first things a future employer might see about you, and how you write yours can make you stand out from the competition.

Here are some tips on writing a LinkedIn summary :

• Before you write it, think about what you want it to do . If you are looking for a job, what kind of job? What have you done in your past that would stand out to someone hiring for that position? That is what you will want to focus on in your summary.
• Be professional . Unlike many social media platforms, LinkedIn has a reputation for being more formal. Your summary should reflect that to some extent.
• Use keywords . Your summary is searchable, so using keywords that a recruiter might be searching for can help them find you.
• Focus on the start . LinkedIn shows the first 300 characters automatically, and then offers the viewer a chance to read more. Make that start so good that everyone wants to keep reading.
• Focus on accomplishments . Think of your life like a series of albums, and this is your speciality “Greatest Hits” album. What “songs” are you putting on it?

How Do I Summarize My Experience on a Resume?

Writing a professional summary for a resume is different than any other type of summary that you may have to do.

Recruiters go through a lot of resumes every day. They don’t have time to spend ages reading yours, which means you have to wow them quickly.

To do that, you might include a section at the top of your resume that acts almost as an elevator pitch: That one thing you might say to a recruiter to get them to want to talk to you if you only had a 30-second elevator ride.

If you don’t have a lot of experience, though, you might want to skip this section entirely and focus on playing up the experience you do have.

Outside of academic and personal summaries, you use summary a lot in your day-to-day life.

Whether it is telling a good piece of trivia you just learned or a funny story that happened to you, or even setting the stage in creative writing, you summarize all the time.

How you use summary can be an important consideration in whether people want to read your work (or listen to you talk).

Here are some things to think about when telling a story:

• Pick interesting details . Too many and your point will be lost. Not enough, and you didn’t paint the scene or give them a complete idea about what happened.
• Play into the emotions . When telling a story, you want more information than the bare minimum. You want your reader to get the emotion of the story. That requires a little bit more work to accomplish.
• Focus. A summary of one story can lead to another can lead to another. Think about storytellers that you know that go off on a tangent. They never seem to finish one story without telling 100 others!

To wrap up (and to demonstrate everything I just talked about), let’s summarize this post into its most essential parts:

A summary is a great way to quickly give your audience the information they need to understand the topic you are discussing without having to know every detail.

How you write a summary is different depending on what type of summary you are doing:

• An academic summary usually gets to the heart of an article, book, or journal, and it should highlight the main points in your own words. How long it should be depends on the type of assignment it is.
• A professional summary highlights you and your professional, academic, and volunteer history. It shows people in your professional network who you are and why they should hire you, work with you, use your talents, etc.

Being able to tell a good story is another form of summary. You want to tell engaging anecdotes and facts without boring your listeners. This is a skill that is developed over time.

Take your writing to the next level:

20 Editing Tips from Professional Writers

Whether you are writing a novel, essay, article, or email, good writing is an essential part of communicating your ideas., this guide contains the 20 most important writing tips and techniques from a wide range of professional writers..

Be confident about grammar

Check every email, essay, or story for grammar mistakes. Fix them before you press send.

Ashley Shaw is a former editor and marketer/current PhD student and teacher. When she isn't studying con artists for her dissertation, she's thinking of new ways to help college students better understand and love the writing process. You can follow her on Twitter, or, if you prefer animal accounts, follow her rabbits, Audrey Hopbun and Fredra StaHare, on Instagram.

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• Literary Devices - Novel
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What is a novel?

A novel is an invented prose narrative of significant length and complexity that deals imaginatively with human experience. Its roots can be traced back thousands of years, though its origins in English are traditionally placed in the 18th century.

What are the elements of a novel?

A novel can accommodate an almost infinite number of elements. Some of the novel's typical elements, though, are the story or plot, the characters, the setting, the narrative method and point of view, and the scope or dimension.

What are the different types of novels?

The novel has an extensive range of types, among them being: historical, picaresque, sentimental, Gothic, psychological, novel of manners, epistolary, pastoral, roman à clef, antinovel, cult, detective, mystery, thriller, western, fantasy, and proletarian. There is no limit to the number of genres available to the novel.

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novel , an invented prose narrative of considerable length and a certain complexity that deals imaginatively with human experience, usually through a connected sequence of events involving a group of persons in a specific setting . Within its broad framework, the genre of the novel has encompassed an extensive range of types and styles: picaresque , epistolary , Gothic , romantic , realist, historical —to name only some of the more important ones.

The novel is a genre of fiction , and fiction may be defined as the art or craft of contriving, through the written word, representations of human life that instruct or divert or both. The various forms that fiction may take are best seen less as a number of separate categories than as a continuum or, more accurately, a cline, with some such brief form as the anecdote at one end of the scale and the longest conceivable novel at the other. When any piece of fiction is long enough to constitute a whole book, as opposed to a mere part of a book, then it may be said to have achieved novelhood. But this state admits of its own quantitative categories, so that a relatively brief novel may be termed a novella (or, if the insubstantiality of the content matches its brevity , a novelette), and a very long novel may overflow the banks of a single volume and become a roman-fleuve , or river novel. Length is very much one of the dimensions of the genre.

The term novel is a truncation of the Italian word novella (from the plural of Latin novellus , a late variant of novus , meaning “new”), so that what is now, in most languages, a diminutive denotes historically the parent form. The novella was a kind of enlarged anecdote like those to be found in the 14th-century Italian classic Boccaccio’s Decameron , each of which exemplifies the etymology well enough. The stories are little new things, novelties, freshly minted diversions, toys; they are not reworkings of known fables or myths , and they are lacking in weight and moral earnestness. It is to be noted that, despite the high example of novelists of the most profound seriousness, such as Tolstoy , Henry James , and Virginia Woolf , the term novel still, in some quarters, carries overtones of lightness and frivolity. And it is possible to descry a tendency to triviality in the form itself. The ode or symphony seems to possess an inner mechanism that protects it from aesthetic or moral corruption, but the novel can descend to shameful commercial depths of sentimentality or pornography . It is the purpose of this section to consider the novel not solely in terms of great art but also as an all-purpose medium catering for all the strata of literacy.

Such early ancient Roman fiction as Petronius ’ Satyricon of the 1st century ad and Lucius Apuleius’ Golden Ass of the 2nd century contain many of the popular elements that distinguish the novel from its nobler born relative the epic poem. In the fictional works, the medium is prose, the events described are unheroic , the settings are streets and taverns, not battlefields and palaces. There is more low fornication than princely combat; the gods do not move the action; the dialogue is homely rather than aristocratic. It was, in fact, out of the need to find—in the period of Roman decline—a literary form that was anti-epic in both substance and language that the first prose fiction of Europe seems to have been conceived. The most memorable character in Petronius is a nouveau riche vulgarian; the hero of Lucius Apuleius is turned into a donkey; nothing less epic can well be imagined.

The medieval chivalric romance (from a popular Latin word, probably Romanice , meaning written in the vernacular , not in traditional Latin) restored a kind of epic view of man—though now as heroic Christian, not heroic pagan. At the same time, it bequeathed its name to the later genre of continental literature , the novel, which is known in French as roman , in Italian as romanzo , etc. (The English term romance, however, carries a pejorative connotation.) But that later genre achieved its first great flowering in Spain at the beginning of the 17th century in an antichivalric comic masterpiece—the Don Quixote of Cervantes, which, on a larger scale than the Satyricon or The Golden Ass , contains many of the elements that have been expected from prose fiction ever since. Novels have heroes, but not in any classical or medieval sense. As for the novelist, he must, in the words of the contemporary British-American W.H. Auden ,

Become the whole of boredom, subject to Vulgar complaints like love, among the Just Be just, among the Filthy filthy too, And in his own weak person, if he can, Must suffer dully all the wrongs of Man.

The novel attempts to assume those burdens of life that have no place in the epic poem and to see man as unheroic, unredeemed, imperfect, even absurd. This is why there is room among its practitioners for writers of hardboiled detective thrillers such as the contemporary American Mickey Spillane or of sentimental melodramas such as the prolific 19th-century English novelist Mrs. Henry Wood , but not for one of the unremitting elevation of outlook of a John Milton .

The novel is propelled through its hundred or thousand pages by a device known as the story or plot. This is frequently conceived by the novelist in very simple terms, a mere nucleus, a jotting on an old envelope: for example, Charles Dickens ’ Christmas Carol (1843) might have been conceived as “a misanthrope is reformed through certain magical visitations on Christmas Eve,” or Jane Austen’s Pride and Prejudice (1813) as “a young couple destined to be married have first to overcome the barriers of pride and prejudice,” or Fyodor Dostoyevsky’s Crime and Punishment (1866) as “a young man commits a crime and is slowly pursued in the direction of his punishment.” The detailed working out of the nuclear idea requires much ingenuity, since the plot of one novel is expected to be somewhat different from that of another, and there are very few basic human situations for the novelist to draw upon. The dramatist may take his plot ready-made from fiction or biography—a form of theft sanctioned by Shakespeare—but the novelist has to produce what look like novelties.

The example of Shakespeare is a reminder that the ability to create an interesting plot, or even any plot at all, is not a prerequisite of the imaginative writer’s craft. At the lowest level of fiction, plot need be no more than a string of stock devices for arousing stock responses of concern and excitement in the reader. The reader’s interest may be captured at the outset by the promise of conflicts or mysteries or frustrations that will eventually be resolved, and he will gladly—so strong is his desire to be moved or entertained—suspend criticism of even the most trite modes of resolution. In the least sophisticated fiction, the knots to be untied are stringently physical, and the denouement often comes in a sort of triumphant violence. Serious fiction prefers its plots to be based on psychological situations, and its climaxes come in new states of awareness—chiefly self-knowledge—on the parts of the major characters.

Melodramatic plots, plots dependent on coincidence or improbability, are sometimes found in even the most elevated fiction; E.M. Forster’s Howards End (1910) is an example of a classic British novel with such a plot. But the novelist is always faced with the problem of whether it is more important to represent the formlessness of real life (in which there are no beginnings and no ends and very few simple motives for action) or to construct an artifact as well balanced and economical as a table or chair; since he is an artist, the claims of art, or artifice , frequently prevail.

There are, however, ways of constructing novels in which plot may play a desultory part or no part at all. The traditional picaresque novel —a novel with a rogue as its central character—like Alain Lesage’s Gil Blas (1715) or Henry Fielding’s Tom Jones (1749), depends for movement on a succession of chance incidents. In the works of Virginia Woolf , the consciousness of the characters, bounded by some poetic or symbolic device, sometimes provides all the fictional material. Marcel Proust ’s great roman-fleuve , À la recherche du temps perdu (1913–27; Remembrance of Things Past ), has a metaphysical framework derived from the time theories of the philosopher Henri Bergson , and it moves toward a moment of truth that is intended to be literally a revelation of the nature of reality. Strictly, any scheme will do to hold a novel together—raw action, the hidden syllogism of the mystery story , prolonged solipsist contemplation—so long as the actualities or potentialities of human life are credibly expressed, with a consequent sense of illumination, or some lesser mode of artistic satisfaction, on the part of the reader.

50 Must-Read Contemporary Essay Collections

Liberty Hardy

Liberty Hardy is an unrepentant velocireader, writer, bitey mad lady, and tattoo canvas. Turn-ons include books, books and books. Her favorite exclamation is “Holy cats!” Liberty reads more than should be legal, sleeps very little, frequently writes on her belly with Sharpie markers, and when she dies, she’s leaving her body to library science. Until then, she lives with her three cats, Millay, Farrokh, and Zevon, in Maine. She is also right behind you. Just kidding! She’s too busy reading. Twitter: @MissLiberty

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I feel like essay collections don’t get enough credit. They’re so wonderful! They’re like short story collections, but TRUE. It’s like going to a truth buffet. You can get information about sooooo many topics, sometimes in one single book! To prove that there are a zillion amazing essay collections out there, I compiled 50 great contemporary essay collections, just from the last 18 months alone.  Ranging in topics from food, nature, politics, sex, celebrity, and more, there is something here for everyone!

I’ve included a brief description from the publisher with each title. Tell us in the comments about which of these you’ve read or other contemporary essay collections that you love. There are a LOT of them. Yay, books!

Must-Read Contemporary Essay Collections

They can’t kill us until they kill us  by hanif abdurraqib.

“In an age of confusion, fear, and loss, Hanif Willis-Abdurraqib’s is a voice that matters. Whether he’s attending a Bruce Springsteen concert the day after visiting Michael Brown’s grave, or discussing public displays of affection at a Carly Rae Jepsen show, he writes with a poignancy and magnetism that resonates profoundly.”

Would Everybody Please Stop?: Reflections on Life and Other Bad Ideas  by Jenny Allen

“Jenny Allen’s musings range fluidly from the personal to the philosophical. She writes with the familiarity of someone telling a dinner party anecdote, forgoing decorum for candor and comedy. To read  Would Everybody Please Stop?  is to experience life with imaginative and incisive humor.”

Longthroat Memoirs: Soups, Sex and Nigerian Taste Buds  by Yemisi Aribisala

“A sumptuous menu of essays about Nigerian cuisine, lovingly presented by the nation’s top epicurean writer. As well as a mouth-watering appraisal of Nigerian food,  Longthroat Memoirs  is a series of love letters to the Nigerian palate. From the cultural history of soup, to fish as aphrodisiac and the sensual allure of snails,  Longthroat Memoirs  explores the complexities, the meticulousness, and the tactile joy of Nigerian gastronomy.”

Beyond Measure: Essays  by Rachel Z. Arndt

“ Beyond Measure  is a fascinating exploration of the rituals, routines, metrics and expectations through which we attempt to quantify and ascribe value to our lives. With mordant humor and penetrating intellect, Arndt casts her gaze beyond event-driven narratives to the machinery underlying them: judo competitions measured in weigh-ins and wait times; the significance of the elliptical’s stationary churn; the rote scripts of dating apps; the stupefying sameness of the daily commute.”

Magic Hours  by Tom Bissell

“Award-winning essayist Tom Bissell explores the highs and lows of the creative process. He takes us from the set of  The Big Bang Theory  to the first novel of Ernest Hemingway to the final work of David Foster Wallace; from the films of Werner Herzog to the film of Tommy Wiseau to the editorial meeting in which Paula Fox’s work was relaunched into the world. Originally published in magazines such as  The Believer ,  The New Yorker , and  Harper’s , these essays represent ten years of Bissell’s best writing on every aspect of creation—be it Iraq War documentaries or video-game character voices—and will provoke as much thought as they do laughter.”

Dead Girls: Essays on Surviving an American Obsession  by Alice Bolin

“In this poignant collection, Alice Bolin examines iconic American works from the essays of Joan Didion and James Baldwin to  Twin Peaks , Britney Spears, and  Serial , illuminating the widespread obsession with women who are abused, killed, and disenfranchised, and whose bodies (dead and alive) are used as props to bolster men’s stories. Smart and accessible, thoughtful and heartfelt, Bolin investigates the implications of our cultural fixations, and her own role as a consumer and creator.”

Betwixt-and-Between: Essays on the Writing Life  by Jenny Boully

“Jenny Boully’s essays are ripe with romance and sensual pleasures, drawing connections between the digression, reflection, imagination, and experience that characterizes falling in love as well as the life of a writer. Literary theory, philosophy, and linguistics rub up against memory, dreamscapes, and fancy, making the practice of writing a metaphor for the illusory nature of experience.  Betwixt and Between  is, in many ways, simply a book about how to live.”

Wedding Toasts I’ll Never Give by Ada Calhoun

“In  Wedding Toasts I’ll Never Give , Ada Calhoun presents an unflinching but also loving portrait of her own marriage, opening a long-overdue conversation about the institution as it truly is: not the happy ending of a love story or a relic doomed by high divorce rates, but the beginning of a challenging new chapter of which ‘the first twenty years are the hardest.'”

How to Write an Autobiographical Novel: Essays  by Alexander Chee

“ How to Write an Autobiographical Novel  is the author’s manifesto on the entangling of life, literature, and politics, and how the lessons learned from a life spent reading and writing fiction have changed him. In these essays, he grows from student to teacher, reader to writer, and reckons with his identities as a son, a gay man, a Korean American, an artist, an activist, a lover, and a friend. He examines some of the most formative experiences of his life and the nation’s history, including his father’s death, the AIDS crisis, 9/11, the jobs that supported his writing—Tarot-reading, bookselling, cater-waiting for William F. Buckley—the writing of his first novel,  Edinburgh , and the election of Donald Trump.”

Too Much and Not the Mood: Essays  by Durga Chew-Bose

“ Too Much and Not the Mood is a beautiful and surprising exploration of what it means to be a first-generation, creative young woman working today. On April 11, 1931, Virginia Woolf ended her entry in A Writer’s Diary with the words ‘too much and not the mood’ to describe her frustration with placating her readers, what she described as the ‘cramming in and the cutting out.’ She wondered if she had anything at all that was truly worth saying. The attitude of that sentiment inspired Durga Chew-Bose to gather own writing in this lyrical collection of poetic essays that examine personhood and artistic growth. Drawing inspiration from a diverse group of incisive and inquiring female authors, Chew-Bose captures the inner restlessness that keeps her always on the brink of creative expression.”

We Were Eight Years in Power: An American Tragedy  by Ta-Nehisi Coates

“‘We were eight years in power’ was the lament of Reconstruction-era black politicians as the American experiment in multiracial democracy ended with the return of white supremacist rule in the South. In this sweeping collection of new and selected essays, Ta-Nehisi Coates explores the tragic echoes of that history in our own time: the unprecedented election of a black president followed by a vicious backlash that fueled the election of the man Coates argues is America’s ‘first white president.'”

Look Alive Out There: Essays by Sloane Crosley

“In  Look Alive Out There,  whether it’s scaling active volcanoes, crashing shivas, playing herself on  Gossip Girl,  befriending swingers, or squinting down the barrel of the fertility gun, Crosley continues to rise to the occasion with unmatchable nerve and electric one-liners. And as her subjects become more serious, her essays deliver not just laughs but lasting emotional heft and insight. Crosley has taken up the gauntlets thrown by her predecessors—Dorothy Parker, Nora Ephron, David Sedaris—and crafted something rare, affecting, and true.”

Fl â neuse: Women Walk the City in Paris, New York, Tokyo, Venice, and London  by Lauren Elkin

“Part cultural meander, part memoir,  Flâneuse  takes us on a distinctly cosmopolitan jaunt that begins in New York, where Elkin grew up, and transports us to Paris via Venice, Tokyo, and London, all cities in which she’s lived. We are shown the paths beaten by such  flâneuses  as the cross-dressing nineteenth-century novelist George Sand, the Parisian artist Sophie Calle, the wartime correspondent Martha Gellhorn, and the writer Jean Rhys. With tenacity and insight, Elkin creates a mosaic of what urban settings have meant to women, charting through literature, art, history, and film the sometimes exhilarating, sometimes fraught relationship that women have with the metropolis.”

Idiophone  by Amy Fusselman

“Leaping from ballet to quiltmaking, from the The Nutcracker to an Annie-B Parson interview,  Idiophone  is a strikingly original meditation on risk-taking and provocation in art and a unabashedly honest, funny, and intimate consideration of art-making in the context of motherhood, and motherhood in the context of addiction. Amy Fusselman’s compact, beautifully digressive essay feels both surprising and effortless, fueled by broad-ranging curiosity, and, fundamentally, joy.”

Not That Bad: Dispatches from Rape Culture  by Roxane Gay

“In this valuable and revealing anthology, cultural critic and bestselling author Roxane Gay collects original and previously published pieces that address what it means to live in a world where women have to measure the harassment, violence, and aggression they face, and where they are ‘routinely second-guessed, blown off, discredited, denigrated, besmirched, belittled, patronized, mocked, shamed, gaslit, insulted, bullied’ for speaking out.”

Sunshine State: Essays  by Sarah Gerard

“With the personal insight of  The Empathy Exams , the societal exposal of  Nickel and Dimed , and the stylistic innovation and intensity of her own break-out debut novel  Binary Star , Sarah Gerard’s  Sunshine State  uses the intimately personal to unearth the deep reservoirs of humanity buried in the corners of our world often hardest to face.”

The Art of the Wasted Day  by Patricia Hampl

“ The Art of the Wasted Day  is a picaresque travelogue of leisure written from a lifelong enchantment with solitude. Patricia Hampl visits the homes of historic exemplars of ease who made repose a goal, even an art form. She begins with two celebrated eighteenth-century Irish ladies who ran off to live a life of ‘retirement’ in rural Wales. Her search then leads to Moravia to consider the monk-geneticist, Gregor Mendel, and finally to Bordeaux for Michel Montaigne—the hero of this book—who retreated from court life to sit in his chateau tower and write about whatever passed through his mind, thus inventing the personal essay.”

A Really Big Lunch: The Roving Gourmand on Food and Life  by Jim Harrison

“Jim Harrison’s legendary gourmandise is on full display in  A Really Big Lunch . From the titular  New Yorker  piece about a French lunch that went to thirty-seven courses, to pieces from  Brick ,  Playboy , Kermit Lynch Newsletter, and more on the relationship between hunter and prey, or the obscure language of wine reviews,  A Really Big Lunch  is shot through with Harrison’s pointed aperçus and keen delight in the pleasures of the senses. And between the lines the pieces give glimpses of Harrison’s life over the last three decades.  A Really Big Lunch  is a literary delight that will satisfy every appetite.”

Insomniac City: New York, Oliver, and Me  by Bill Hayes

“Bill Hayes came to New York City in 2009 with a one-way ticket and only the vaguest idea of how he would get by. But, at forty-eight years old, having spent decades in San Francisco, he craved change. Grieving over the death of his partner, he quickly discovered the profound consolations of the city’s incessant rhythms, the sight of the Empire State Building against the night sky, and New Yorkers themselves, kindred souls that Hayes, a lifelong insomniac, encountered on late-night strolls with his camera.”

Would You Rather?: A Memoir of Growing Up and Coming Out  by Katie Heaney

“Here, for the first time, Katie opens up about realizing at the age of twenty-eight that she is gay. In these poignant, funny essays, she wrestles with her shifting sexuality and identity, and describes what it was like coming out to everyone she knows (and everyone she doesn’t). As she revisits her past, looking for any ‘clues’ that might have predicted this outcome, Katie reveals that life doesn’t always move directly from point A to point B—no matter how much we would like it to.”

Tonight I’m Someone Else: Essays  by Chelsea Hodson

“From graffiti gangs and  Grand Theft Auto  to sugar daddies, Schopenhauer, and a deadly game of Russian roulette, in these essays, Chelsea Hodson probes her own desires to examine where the physical and the proprietary collide. She asks what our privacy, our intimacy, and our own bodies are worth in the increasingly digital world of liking, linking, and sharing.”

We Are Never Meeting in Real Life.: Essays  by Samantha Irby

“With  We Are Never Meeting in Real Life. , ‘bitches gotta eat’ blogger and comedian Samantha Irby turns the serio-comic essay into an art form. Whether talking about how her difficult childhood has led to a problem in making ‘adult’ budgets, explaining why she should be the new Bachelorette—she’s ’35-ish, but could easily pass for 60-something’—detailing a disastrous pilgrimage-slash-romantic-vacation to Nashville to scatter her estranged father’s ashes, sharing awkward sexual encounters, or dispensing advice on how to navigate friendships with former drinking buddies who are now suburban moms—hang in there for the Costco loot—she’s as deft at poking fun at the ghosts of her past self as she is at capturing powerful emotional truths.”

This Will Be My Undoing: Living at the Intersection of Black, Female, and Feminist in (White) America  by Morgan Jerkins

“Doubly disenfranchised by race and gender, often deprived of a place within the mostly white mainstream feminist movement, black women are objectified, silenced, and marginalized with devastating consequences, in ways both obvious and subtle, that are rarely acknowledged in our country’s larger discussion about inequality. In  This Will Be My Undoing , Jerkins becomes both narrator and subject to expose the social, cultural, and historical story of black female oppression that influences the black community as well as the white, male-dominated world at large.”

Everywhere Home: A Life in Essays  by Fenton Johnson

“Part retrospective, part memoir, Fenton Johnson’s collection  Everywhere Home: A Life in Essays  explores sexuality, religion, geography, the AIDS crisis, and more. Johnson’s wanderings take him from the hills of Kentucky to those of San Francisco, from the streets of Paris to the sidewalks of Calcutta. Along the way, he investigates questions large and small: What’s the relationship between artists and museums, illuminated in a New Guinean display of shrunken heads? What’s the difference between empiricism and intuition?”

One Day We’ll All Be Dead and None of This Will Matter: Essays  by Scaachi Koul

“In  One Day We’ll All Be Dead and None of This Will Matter , Scaachi Koul deploys her razor-sharp humor to share all the fears, outrages, and mortifying moments of her life. She learned from an early age what made her miserable, and for Scaachi anything can be cause for despair. Whether it’s a shopping trip gone awry; enduring awkward conversations with her bikini waxer; overcoming her fear of flying while vacationing halfway around the world; dealing with Internet trolls, or navigating the fears and anxieties of her parents. Alongside these personal stories are pointed observations about life as a woman of color: where every aspect of her appearance is open for critique, derision, or outright scorn; where strict gender rules bind in both Western and Indian cultures, leaving little room for a woman not solely focused on marriage and children to have a career (and a life) for herself.”

Tell Me How It Ends: An Essay in 40 Questions  by Valeria Luiselli and jon lee anderson (translator)

“A damning confrontation between the American dream and the reality of undocumented children seeking a new life in the U.S. Structured around the 40 questions Luiselli translates and asks undocumented Latin American children facing deportation,  Tell Me How It Ends  (an expansion of her 2016 Freeman’s essay of the same name) humanizes these young migrants and highlights the contradiction between the idea of America as a fiction for immigrants and the reality of racism and fear—both here and back home.”

All the Lives I Want: Essays About My Best Friends Who Happen to Be Famous Strangers  by Alana Massey

“Mixing Didion’s affected cool with moments of giddy celebrity worship, Massey examines the lives of the women who reflect our greatest aspirations and darkest fears back onto us. These essays are personal without being confessional and clever in a way that invites readers into the joke. A cultural critique and a finely wrought fan letter, interwoven with stories that are achingly personal, All the Lives I Want is also an exploration of mental illness, the sex industry, and the dangers of loving too hard.”

Typewriters, Bombs, Jellyfish: Essays  by Tom McCarthy

“Certain points of reference recur with dreamlike insistence—among them the artist Ed Ruscha’s  Royal Road Test , a photographic documentation of the roadside debris of a Royal typewriter hurled from the window of a traveling car; the great blooms of jellyfish that are filling the oceans and gumming up the machinery of commerce and military domination—and the question throughout is: How can art explode the restraining conventions of so-called realism, whether aesthetic or political, to engage in the active reinvention of the world?”

Nasty Women: Feminism, Resistance, and Revolution in Trump’s America  by Samhita Mukhopadhyay and Kate Harding

“When 53 percent of white women voted for Donald Trump and 94 percent of black women voted for Hillary Clinton, how can women unite in Trump’s America? Nasty Women includes inspiring essays from a diverse group of talented women writers who seek to provide a broad look at how we got here and what we need to do to move forward.”

Don’t Call Me Princess: Essays on Girls, Women, Sex, and Life  by Peggy Orenstein

“Named one of the ’40 women who changed the media business in the last 40 years’ by  Columbia Journalism Review , Peggy Orenstein is one of the most prominent, unflinching feminist voices of our time. Her writing has broken ground and broken silences on topics as wide-ranging as miscarriage, motherhood, breast cancer, princess culture and the importance of girls’ sexual pleasure. Her unique blend of investigative reporting, personal revelation and unexpected humor has made her books bestselling classics.”

When You Find Out the World Is Against You: And Other Funny Memories About Awful Moments  by Kelly Oxford

“Kelly Oxford likes to blow up the internet. Whether it is with the kind of Tweets that lead  Rolling Stone  to name her one of the Funniest People on Twitter or with pictures of her hilariously adorable family (human and animal) or with something much more serious, like creating the hashtag #NotOkay, where millions of women came together to share their stories of sexual assault, Kelly has a unique, razor-sharp perspective on modern life. As a screen writer, professional sh*t disturber, wife and mother of three, Kelly is about everything but the status quo.”

Too Fat, Too Slutty, Too Loud: The Rise and Reign of the Unruly Woman  by Anne Helen Petersen

“You know the type: the woman who won’t shut up, who’s too brazen, too opinionated—too much. She’s the unruly woman, and she embodies one of the most provocative and powerful forms of womanhood today. In  Too Fat, Too Slutty, Too Loud , Anne Helen Petersen uses the lens of ‘unruliness’ to explore the ascension of pop culture powerhouses like Lena Dunham, Nicki Minaj, and Kim Kardashian, exploring why the public loves to love (and hate) these controversial figures. With its brisk, incisive analysis,  Too Fat, Too Slutty, Too Loud  will be a conversation-starting book on what makes and breaks celebrity today.”

Well, That Escalated Quickly: Memoirs and Mistakes of an Accidental Activist  by Franchesca Ramsey

“In her first book, Ramsey uses her own experiences as an accidental activist to explore the many ways we communicate with each other—from the highs of bridging gaps and making connections to the many pitfalls that accompany talking about race, power, sexuality, and gender in an unpredictable public space…the internet.”

Shrewed: A Wry and Closely Observed Look at the Lives of Women and Girls  by Elizabeth Renzetti

“Drawing upon Renzetti’s decades of reporting on feminist issues,  Shrewed  is a book about feminism’s crossroads. From Hillary Clinton’s failed campaign to the quest for equal pay, from the lessons we can learn from old ladies to the future of feminism in a turbulent world, Renzetti takes a pointed, witty look at how far we’ve come—and how far we have to go.”

What Are We Doing Here?: Essays  by Marilynne Robinson

“In this new essay collection she trains her incisive mind on our modern political climate and the mysteries of faith. Whether she is investigating how the work of great thinkers about America like Emerson and Tocqueville inform our political consciousness or discussing the way that beauty informs and disciplines daily life, Robinson’s peerless prose and boundless humanity are on full display.”

Double Bind: Women on Ambition  by Robin Romm

“‘A work of courage and ferocious honesty’ (Diana Abu-Jaber),  Double Bind  could not come at a more urgent time. Even as major figures from Gloria Steinem to Beyoncé embrace the word ‘feminism,’ the word ‘ambition’ remains loaded with ambivalence. Many women see it as synonymous with strident or aggressive, yet most feel compelled to strive and achieve—the seeming contradiction leaving them in a perpetual double bind. Ayana Mathis, Molly Ringwald, Roxane Gay, and a constellation of ‘nimble thinkers . . . dismantle this maddening paradox’ ( O, The Oprah Magazine ) with candor, wit, and rage. Women who have made landmark achievements in fields as diverse as law, dog sledding, and butchery weigh in, breaking the last feminist taboo once and for all.”

The Destiny Thief: Essays on Writing, Writers and Life  by Richard Russo

“In these nine essays, Richard Russo provides insight into his life as a writer, teacher, friend, and reader. From a commencement speech he gave at Colby College, to the story of how an oddly placed toilet made him reevaluate the purpose of humor in art and life, to a comprehensive analysis of Mark Twain’s value, to his harrowing journey accompanying a dear friend as she pursued gender-reassignment surgery,  The Destiny Thief  reflects the broad interests and experiences of one of America’s most beloved authors. Warm, funny, wise, and poignant, the essays included here traverse Russo’s writing life, expanding our understanding of who he is and how his singular, incredibly generous mind works. An utter joy to read, they give deep insight into the creative process from the prospective of one of our greatest writers.”

Curry: Eating, Reading, and Race by Naben Ruthnum

“Curry is a dish that doesn’t quite exist, but, as this wildly funny and sharp essay points out, a dish that doesn’t properly exist can have infinite, equally authentic variations. By grappling with novels, recipes, travelogues, pop culture, and his own upbringing, Naben Ruthnum depicts how the distinctive taste of curry has often become maladroit shorthand for brown identity. With the sardonic wit of Gita Mehta’s  Karma Cola  and the refined, obsessive palette of Bill Buford’s  Heat , Ruthnum sinks his teeth into the story of how the beloved flavor calcified into an aesthetic genre that limits the imaginations of writers, readers, and eaters.”

The River of Consciousness  by Oliver Sacks

“Sacks, an Oxford-educated polymath, had a deep familiarity not only with literature and medicine but with botany, animal anatomy, chemistry, the history of science, philosophy, and psychology.  The River of Consciousness  is one of two books Sacks was working on up to his death, and it reveals his ability to make unexpected connections, his sheer joy in knowledge, and his unceasing, timeless project to understand what makes us human.”

All the Women in My Family Sing: Women Write the World: Essays on Equality, Justice, and Freedom (Nothing But the Truth So Help Me God)  by Deborah Santana and America Ferrera

“ All the Women in My Family Sing  is an anthology documenting the experiences of women of color at the dawn of the twenty-first century. It is a vital collection of prose and poetry whose topics range from the pressures of being the vice-president of a Fortune 500 Company, to escaping the killing fields of Cambodia, to the struggles inside immigration, identity, romance, and self-worth. These brief, trenchant essays capture the aspirations and wisdom of women of color as they exercise autonomy, creativity, and dignity and build bridges to heal the brokenness in today’s turbulent world.”

We Wear the Mask: 15 True Stories of Passing in America  by Brando Skyhorse and Lisa Page

“For some, ‘passing’ means opportunity, access, or safety. Others don’t willingly pass but are ‘passed’ in specific situations by someone else.  We Wear the Mask , edited by  Brando Skyhorse  and  Lisa Page , is an illuminating and timely anthology that examines the complex reality of passing in America. Skyhorse, a Mexican American, writes about how his mother passed him as an American Indian before he learned who he really is. Page shares how her white mother didn’t tell friends about her black ex-husband or that her children were, in fact, biracial.”

Feel Free: Essays by Zadie Smith

“Since she burst spectacularly into view with her debut novel almost two decades ago, Zadie Smith has established herself not just as one of the world’s preeminent fiction writers, but also a brilliant and singular essayist. She contributes regularly to  The New Yorker  and the  New York Review of Books  on a range of subjects, and each piece of hers is a literary event in its own right.”

The Mother of All Questions: Further Reports from the Feminist Revolutions  by Rebecca Solnit

“In a timely follow-up to her national bestseller  Men Explain Things to Me , Rebecca Solnit offers indispensable commentary on women who refuse to be silenced, misogynistic violence, the fragile masculinity of the literary canon, the gender binary, the recent history of rape jokes, and much more. In characteristic style, Solnit mixes humor, keen analysis, and powerful insight in these essays.”

The Wrong Way to Save Your Life: Essays  by Megan Stielstra

“Whether she’s imagining the implications of open-carry laws on college campuses, recounting the story of going underwater on the mortgage of her first home, or revealing the unexpected pains and joys of marriage and motherhood, Stielstra’s work informs, impels, enlightens, and embraces us all. The result is something beautiful—this story, her courage, and, potentially, our own.”

Against Memoir: Complaints, Confessions & Criticisms  by Michelle Tea

“Delivered with her signature honesty and dark humor, this is Tea’s first-ever collection of journalistic writing. As she blurs the line between telling other people’s stories and her own, she turns an investigative eye to the genre that’s nurtured her entire career—memoir—and considers the price that art demands be paid from life.”

A Twenty Minute Silence Followed by Applause  by Shawn Wen

“In precise, jewel-like scenes and vignettes,  A Twenty Minute Silence Followed by Applause  pays homage to the singular genius of a mostly-forgotten art form. Drawing on interviews, archival research, and meticulously observed performances, Wen translates the gestural language of mime into a lyric written portrait by turns whimsical, melancholic, and haunting.”

Acid West: Essays  by Joshua Wheeler

“The radical evolution of American identity, from cowboys to drone warriors to space explorers, is a story rooted in southern New Mexico.  Acid West  illuminates this history, clawing at the bounds of genre to reveal a place that is, for better or worse, home. By turns intimate, absurd, and frightening,  Acid West  is an enlightening deep-dive into a prophetic desert at the bottom of America.”

Sexographies  by Gabriela Wiener and Lucy Greaves And jennifer adcock (Translators)

“In fierce and sumptuous first-person accounts, renowned Peruvian journalist Gabriela Wiener records infiltrating the most dangerous Peruvian prison, participating in sexual exchanges in swingers clubs, traveling the dark paths of the Bois de Boulogne in Paris in the company of transvestites and prostitutes, undergoing a complicated process of egg donation, and participating in a ritual of ayahuasca ingestion in the Amazon jungle—all while taking us on inward journeys that explore immigration, maternity, fear of death, ugliness, and threesomes. Fortunately, our eagle-eyed voyeur emerges from her narrative forays unscathed and ready to take on the kinks, obsessions, and messiness of our lives.  Sexographies  is an eye-opening, kamikaze journey across the contours of the human body and mind.”

The Nature Fix: Why Nature Makes Us Happier, Healthier, and More Creative  by Florence Williams

“From forest trails in Korea, to islands in Finland, to eucalyptus groves in California, Florence Williams investigates the science behind nature’s positive effects on the brain. Delving into brand-new research, she uncovers the powers of the natural world to improve health, promote reflection and innovation, and strengthen our relationships. As our modern lives shift dramatically indoors, these ideas—and the answers they yield—are more urgent than ever.”

Can You Tolerate This?: Essays  by Ashleigh Young

“ Can You Tolerate This?  presents a vivid self-portrait of an introspective yet widely curious young woman, the colorful, isolated community in which she comes of age, and the uneasy tensions—between safety and risk, love and solitude, the catharsis of grief and the ecstasy of creation—that define our lives.”

What are your favorite contemporary essay collections?

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• Writing Tips

How to Write Book Titles in Your Essays

3-minute read

• 26th May 2023

When writing an essay, you’re likely to mention other authors’ works, such as books, papers, and articles. Formatting the titles of these works usually involves using quotation marks or italics.

So how do you write a book title in an essay? Most style guides have a standard for this – be sure to check that first. If you’re unsure, though, check out our guide below.

Italics or Quotation Marks?

As a general rule, you should set titles of longer works in italics , and titles of shorter works go in quotation marks . Longer works include books, journals, TV shows, albums, plays, etc. Here’s an example of a book mention:

Shorter works include poems, articles, chapters of books, episodes of TV shows, songs, etc. If it’s a piece that’s part of a biggHow to Write Book Titles in Your Essayser work, the piece considered a short work:

Exceptions to the Rule

The rule for writing book titles in italics applies specifically to running text . If the book title is standing on its own, as in a heading, there’s no need to italicize it.

Additionally, if the book is part of a larger series and you’re mentioning both the title of the series and that of the individual book, you can consider the book a shorter work. You would set the title of the series in italics and place the book title in quotation marks:

Punctuation in Book Titles

Do you need to apply italics to the punctuation in a book title? The short answer is yes – but only if the punctuation is part of the title:

If the punctuation isn’t part of the title (i.e., the punctuation is part of the sentence containing the title), you shouldn’t include in the italics:

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Summary: Writing Book Titles in Essays

We hope you’ll now feel confident when you’re writing and formatting book titles in your essays. Generally, you should set the title in italics when it’s in running text. Remember, though, to check your style guide. While the standards we’ve covered are the most common, some style guides have different requirements.

And once you finish writing your paper, make sure you send it our way! We’ll make sure any titles are formatted correctly as well as checking your work for grammar, spelling, punctuation, referencing, and more. Submit a free sample to try our service today.

Frequently Asked Questions

How do you write the title of a book in a sentence.

Set the title of the book in italics unless the book is part of a larger work (e.g., a book that’s part of a series):

When do you use quotation marks for titles?

Place titles of shorter works or pieces that are contained in a larger work in quotation marks:

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• Knowledge Base
• How to write an essay introduction | 4 steps & examples

How to Write an Essay Introduction | 4 Steps & Examples

Published on February 4, 2019 by Shona McCombes . Revised on July 23, 2023.

A good introduction paragraph is an essential part of any academic essay . It sets up your argument and tells the reader what to expect.

The main goals of an introduction are to:

• Catch your reader’s attention.
• Give background on your topic.
• Present your thesis statement —the central point of your essay.

This introduction example is taken from our interactive essay example on the history of Braille.

The invention of Braille was a major turning point in the history of disability. The writing system of raised dots used by visually impaired people was developed by Louis Braille in nineteenth-century France. In a society that did not value disabled people in general, blindness was particularly stigmatized, and lack of access to reading and writing was a significant barrier to social participation. The idea of tactile reading was not entirely new, but existing methods based on sighted systems were difficult to learn and use. As the first writing system designed for blind people’s needs, Braille was a groundbreaking new accessibility tool. It not only provided practical benefits, but also helped change the cultural status of blindness. This essay begins by discussing the situation of blind people in nineteenth-century Europe. It then describes the invention of Braille and the gradual process of its acceptance within blind education. Subsequently, it explores the wide-ranging effects of this invention on blind people’s social and cultural lives.

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Table of contents

Step 1: hook your reader, step 2: give background information, step 3: present your thesis statement, step 4: map your essay’s structure, step 5: check and revise, more examples of essay introductions, other interesting articles, frequently asked questions about the essay introduction.

Your first sentence sets the tone for the whole essay, so spend some time on writing an effective hook.

Avoid long, dense sentences—start with something clear, concise and catchy that will spark your reader’s curiosity.

The hook should lead the reader into your essay, giving a sense of the topic you’re writing about and why it’s interesting. Avoid overly broad claims or plain statements of fact.

Examples: Writing a good hook

Take a look at these examples of weak hooks and learn how to improve them.

• Braille was an extremely important invention.
• The invention of Braille was a major turning point in the history of disability.

The first sentence is a dry fact; the second sentence is more interesting, making a bold claim about exactly  why the topic is important.

• The internet is defined as “a global computer network providing a variety of information and communication facilities.”
• The spread of the internet has had a world-changing effect, not least on the world of education.

Avoid using a dictionary definition as your hook, especially if it’s an obvious term that everyone knows. The improved example here is still broad, but it gives us a much clearer sense of what the essay will be about.

• Mary Shelley’s  Frankenstein is a famous book from the nineteenth century.
• Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement.

Instead of just stating a fact that the reader already knows, the improved hook here tells us about the mainstream interpretation of the book, implying that this essay will offer a different interpretation.

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Next, give your reader the context they need to understand your topic and argument. Depending on the subject of your essay, this might include:

• Historical, geographical, or social context
• An outline of the debate you’re addressing
• A summary of relevant theories or research about the topic
• Definitions of key terms

The information here should be broad but clearly focused and relevant to your argument. Don’t give too much detail—you can mention points that you will return to later, but save your evidence and interpretation for the main body of the essay.

How much space you need for background depends on your topic and the scope of your essay. In our Braille example, we take a few sentences to introduce the topic and sketch the social context that the essay will address:

Now it’s time to narrow your focus and show exactly what you want to say about the topic. This is your thesis statement —a sentence or two that sums up your overall argument.

This is the most important part of your introduction. A  good thesis isn’t just a statement of fact, but a claim that requires evidence and explanation.

The goal is to clearly convey your own position in a debate or your central point about a topic.

Particularly in longer essays, it’s helpful to end the introduction by signposting what will be covered in each part. Keep it concise and give your reader a clear sense of the direction your argument will take.

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As you research and write, your argument might change focus or direction as you learn more.

For this reason, it’s often a good idea to wait until later in the writing process before you write the introduction paragraph—it can even be the very last thing you write.

When you’ve finished writing the essay body and conclusion , you should return to the introduction and check that it matches the content of the essay.

It’s especially important to make sure your thesis statement accurately represents what you do in the essay. If your argument has gone in a different direction than planned, tweak your thesis statement to match what you actually say.

To polish your writing, you can use something like a paraphrasing tool .

You can use the checklist below to make sure your introduction does everything it’s supposed to.

Checklist: Essay introduction

My first sentence is engaging and relevant.

I have introduced the topic with necessary background information.

I have defined any important terms.

My thesis statement clearly presents my main point or argument.

Everything in the introduction is relevant to the main body of the essay.

You have a strong introduction - now make sure the rest of your essay is just as good.

• Argumentative
• Literary analysis

This introduction to an argumentative essay sets up the debate about the internet and education, and then clearly states the position the essay will argue for.

The spread of the internet has had a world-changing effect, not least on the world of education. The use of the internet in academic contexts is on the rise, and its role in learning is hotly debated. For many teachers who did not grow up with this technology, its effects seem alarming and potentially harmful. This concern, while understandable, is misguided. The negatives of internet use are outweighed by its critical benefits for students and educators—as a uniquely comprehensive and accessible information source; a means of exposure to and engagement with different perspectives; and a highly flexible learning environment.

This introduction to a short expository essay leads into the topic (the invention of the printing press) and states the main point the essay will explain (the effect of this invention on European society).

In many ways, the invention of the printing press marked the end of the Middle Ages. The medieval period in Europe is often remembered as a time of intellectual and political stagnation. Prior to the Renaissance, the average person had very limited access to books and was unlikely to be literate. The invention of the printing press in the 15th century allowed for much less restricted circulation of information in Europe, paving the way for the Reformation.

This introduction to a literary analysis essay , about Mary Shelley’s Frankenstein , starts by describing a simplistic popular view of the story, and then states how the author will give a more complex analysis of the text’s literary devices.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale. Arguably the first science fiction novel, its plot can be read as a warning about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, and in popular culture representations of the character as a “mad scientist”, Victor Frankenstein represents the callous, arrogant ambition of modern science. However, far from providing a stable image of the character, Shelley uses shifting narrative perspectives to gradually transform our impression of Frankenstein, portraying him 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.

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

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Your essay introduction should include three main things, in this order:

• An opening hook to catch the reader’s attention.
• Relevant background information that the reader needs to know.
• A thesis statement that presents your main point or argument.

The length of each part depends on the length and complexity of your essay .

The “hook” is the first sentence of your essay introduction . It should lead the reader into your essay, giving a sense of why it’s interesting.

To write a good hook, avoid overly broad statements or long, dense sentences. Try to start with something clear, concise and catchy that will spark your reader’s curiosity.

A thesis statement is a sentence that sums up the central point of your paper or essay . Everything else you write should relate to this key idea.

The thesis statement is essential in any academic essay or research paper for two main reasons:

• It gives your writing direction and focus.
• It gives the reader a concise summary of your main point.

Without a clear thesis statement, an essay can end up rambling and unfocused, leaving your reader unsure of exactly what you want to say.

The structure of an essay is divided into an introduction that presents your topic and thesis statement , a body containing your in-depth analysis and arguments, and a conclusion wrapping up your ideas.

The structure of the body is flexible, but you should always spend some time thinking about how you can organize your essay to best serve your ideas.

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Writing A Book Title In Your Essay – The Right Way

Table of contents

• 1 APA Style: How to Write Book Titles in Essays
• 2 APA Style Essay: Writing The Name of The Author
• 3 MLA Style Essay: Citing a Book Title
• 4 Chicago Style Essay: Writing the Book Title
• 5 Writing Various Types of Titles
• 6 Should We Underline or Italicize Book Titles?

When you are writing an academic essay , the book title and author’s name should be written in italics. However, if the book title is part of a larger work (such as a journal article), it should be underlined instead. So, you’re wondering how to write a book title in an essay?

Writing an essay with a book title can be tricky, particularly because each style guide has its own formatting rules for including titles in the main text. Whether you are using MLA, APA, Chicago, or Harvard referencing styles, you will need to consider how to properly format the book title. For more complicated literature-based assignments, seeking assistance from an admission essay writing service may be wise, as they specialize in writing essays that incorporate academic sources.

In this article, we will explore how to write both titles in an essay properly so that you avoid any mistakes!

APA Style: How to Write Book Titles in Essays

When writing an essay, you must follow the style guide provided by your professor. Some teachers may require you to use APA style and others MLA style. There are some rules on how to quote a book title in an essay. You should use italics and quotation marks when writing book titles in essays. For example: “ The Rape of Nanking: The Forgotten Holocaust of World War II. “

When writing a book title in APA Style , you should be aware of these rules:

Write the book title in italics and place it after the author’s name, which is presented in reverse order (last name first).

Use quotation marks around the headline of a chapter or article.

Capitalize proper names that are not common nouns (names of people, places, organizations), but do not capitalize words such as “and,” “or,” “to,” or “and/or.”

Do not capitalize prepositions that appear at the beginning of titles if they are followed by an article (e.g., “A,” “An”), but do capitalize prepositions at the beginning of titles if they are not followed by articles (“Of”).

The first word of the headline should be capitalized, as well as any other words after a colon or hyphen. For example, “The Elements of Style: Grammar for Everyone”  or “Theories of Personality: Critical Perspectives.”

Capitalize proper names and words derived from them (e.g., the names of people, places, organizations), except proper nouns used generically (e.g., ‘a bed’).

APA Style Essay: Writing The Name of The Author

You should always use the full name and surname of the author in your APA essay because this will give proper credit to the writer. If you do not mention the author’s full name, people may not know who wrote what and will think you copied it from somewhere else. This will cause lots of problems for you and your reputation as well.

Make sure that all authors’ names appear in the same format in each entry. For example, if one person’s surname is Smith and another’s is Jones, both have first names starting with “J.” It may seem like they are being cited as different people when they’re actually written differently from each other on separate pages in your paper.

To write an APA essay without any issues, there are certain rules that you need to follow while writing an author’s name in APA essay:

• Use only one author’s name in your paper unless there are multiple authors
• If there are multiple authors, then use both their last names followed by the initials of their first names
• Only use initials of first names when there are three or more authors; otherwise, use full names with their last names

Example: Johnson, M.C., Carlson, M., Smith, J. N., & Hanover, L. E.

MLA Style Essay: Citing a Book Title

Now let’s discuss how to mention a book in an essay. The MLA Handbook for Writers of Research Papers, 7th edition, published by the Modern Language Association (2014), contains detailed rules about how to cite a book title in an essay.

The following guidelines will instruct you on how to refer to a book in an essay in MLA style :

• List your sources at the end of your paper, before the works cited page or bibliography.
• Use italics for titles of books, magazines, and newspapers, but not for articles within those publications, which should be placed in quotation marks.
• Include all relevant book information under two categories: “title” and “author.” In the former category, include the work’s title and its subtitle if there is one; do this even if neither appears on your title page (see below). In the latter category, include only primary authors who have written or edited an entire book; if there are multiple contributors, you should cite them separately under each.

The general format for citing the title of the book in an essay is as follows:

Author’s last name, first initial (Date). Title of Book with Subtitle if there is one. Publisher Name/Location of Publisher; Year Published

Chicago Style Essay: Writing the Book Title

One of the most important things to remember when writing in Chicago style is how to write the title of a book in an essay. To write a good book title in an essay, you should follow these steps:

• Write it at the beginning of your sentence.
• Capitalize it just like any other noun or proper noun.
• Put a comma after the title unless it’s an introductory clause or phrase. For example: “The Firm,” by John Grisham (not “by”) and “The Catcher in the Rye,” by J.D Salinger (not “and”).
• In addition to the book’s name, punctuation marks should also be italicized.

For example: Harry Potter and the Half-blood Prince: Children’s Edition

Writing Various Types of Titles

Now that we covered how to write a book title and author in an essay, it’s time to look at some different types of titles. When you write a book title in an essay, several things must be considered. Whether it’s a book, series, chapter title, editor’s name, or author’s name, how you write it depends on where it appears in your paper.

Here are some key rules for writing headings for novels:

•  Use capital letters to write the title of the novel. For example,  The Secret Garden by Frances Hodgson Burnett .
• Use italics and capital letters to write the name of the author and his/her other works mentioned in a book title—for example,  Jane Austen’s Pride and Prejudice (1813) .

You should use quotation marks when writing headings of short title poems, articles, and stories.

However, before deciding which format to use, it is important to understand the main idea you want to express in your essay. Additionally, you could use essay papers for sale to help you accomplish your goal of writing an essay effectively.

Should We Underline or Italicize Book Titles?

It depends on which style guide you use. The Modern Language Association and Chicago Manual of Style both suggest using italics, while the American Psychological Association suggests using quotation marks with a few exceptions.

The way you write the title of a book in an essay is different depending on the instructions you were given. For example, if you’re writing an essay in APA style, use quotation marks around the book’s name. If you’re writing for MLA or Chicago style , however, italicize the book’s name instead. If you’re writing a handwritten essay instead of using a computer, capitalize and underline the book’s name.

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How to Write A BOOK Title In An Essay

Writing a book title in an essay can be confusing. But it is necessary for the credibility and clarity of the write-up. Plus, each writing style has its own rules for formatting titles. Hence, doing such an activity could be a real pain for the students.

Don’t worry, as you are in the right place! Since this interesting article focuses on guiding you about how to write a book title in an essay accurately. So, read it thoroughly before you search for a professional  paper writing services  provider.

Table of Contents

Understanding Formatting Guidelines

The first step in learning how to write book name in essay is to learn the basics. It means you need to get comfortable with different formatting guidelines. Let’s begin with the style guides.

Different style guides

When writing essays for college , it’s important to know the rules for formatting book titles. The three most popular style guides are MLA, APA, and Chicago.

In  MLA format , you should usually italicize book titles. You can also put them in quotation marks when a type of work demands.

For example, a book title like “To Kill a Mockingbird” would be italicized:  To Kill a Mockingbird .

However, a chapter title within a book would be placed within quotation marks. For example, “The Ewell Family.”

In  APA style , the first word of book titles is capital.

For example, a book title like “The Catcher in the Rye” would be written as The catcher in the rye

Chicago Style

Chicago style demands a book title to be in italics or quotation marks. It is very similar to the MLA style. But Chicago style gives you a bit more leeway to use italics or quotation marks. It’s best to stay consistent with what you pick throughout your essay when using the Chicago style.

Consistency within the Essay

You must be consistent when including the title of a book in an essay. Figure out what style guide you must follow and ensure you stick with it. That means all the book titles you mention should look the same.

For example, if you choose to italicize book titles according to MLA style. Ensure that all book titles in your essay are italicized consistently. Avoid mixing italicization with quotation marks or using different formatting styles within the same essay.

Inconsistency in formatting can confuse readers and undermine the professionalism of your work. Paying attention to detail and maintaining consistency will contribute to your essay’s overall clarity and readability.

Determine the Appropriate Style Guide to Follow

To determine the appropriate style guide to follow for formatting book titles in your essay, consider the following:

Assignment Requirements

See if your teacher or the instructions for the assignment mention a certain style to go by. Stick to that, if they do, to ensure everything is consistent, and you meet the expectations.

Academic Discipline

Your field of study can affect which style guide you should use. For example, humanities and literature students usually use MLA style, while social sciences usually use APA style. It’s important to know what’s typical in your discipline to choose the right guide.

Formatting Book Titles in MLA Style

Humanities and liberal arts disciplines use MLA writing rules. In MLA style, book titles are usually in italics like in APA style. But there can be variations in capitalization and punctuation. Let’s explore each aspect in detail with examples:

In MLA style, book titles are put in italics to make them stand out from the rest of the text.

Titles of shorter works, such as articles or chapters, are enclosed in quotation marks.

Example 1: Italicized Book Title

Fitzgerald, F. Scott. The Great Gatsby .

Example 2: Book Chapter (In Quotation Marks)

Smith, John. “The Art of Persuasion.” Essays on Rhetoric.

Capitalization

In MLA style, follows the title case. It means keep the first letter of each word capital. Capitalize articles, conjunctions, and prepositions only if they are the first or last words in title.

Example 3: Correct Capitalization

Lee, Harper. To Kill a Mockingbird.

Punctuation

In MLA style, there should be no special punctuation like colons or periods between the main title and any subtitles. However, if the book’s title includes a subtitle, a colon should separate it from the main title.

Example 4: Book Title with Subtitle

Gladwell, Malcolm. Outliers: The Story of Success.

Edition and Volume Numbers

To refer to a certain book edition, add the edition number after the book title. If the book is part of a multi-volume work, indicate the volume number after the title as well.

Example 5: Edition and Volume Numbers

Johnson, Mary. Chemistry in Focus. 2nd ed.

Smith, Adam. The Wealth of Nations. Vol. 1.

Translated Titles

If the book you are citing is translated from another language, include the original title and the translator’s name in the citation.

Example 6: Translated Title

Kafka, Franz. The Metamorphosis. Translated by David Wyllie.

It’s important to remember that MLA style is always changing and being updated. So always refer to the latest edition of the MLA Handbook or your institution’s writing guidelines.

Formatting Book Titles in APA Style

Usually the social sciences disciplines use APA (American Psychological Association) style. Let’s look at how you must consider capitalization, punctuation and italics in this writing style.

Just capitalize the first word of any subtitles and proper nouns.

All other words, such as articles (a, an, the), conjunctions (and, but, or), and prepositions (in, on, at), are in lowercase.

Example 1: 

“The Power of Habit: Why We Do What We Do in Life and Business”

In APA style, book titles are italicized to distinguish them from the rest of the text.

Do not italicize titles of shorter works, such as articles or chapters. Just enclose them in quotation marks.

Example 2: Italics

Here’s an example of an italicized book title:

The Catcher in the Rye

In APA style, there should be a colon (:) between the main title and any subtitle.

When citing a book title within the text of your paper, use title case and italicize it.

When including book titles in your reference list, use sentence case and italicize it.

Example 3: Punctuation

Here’s an example of proper punctuation and citation within the text and reference list:

In-text citation

According to Smith (2019),  The Theory of Everything  provides an in-depth analysis of astrophysics.

Reference list citation

Smith, J. (2019).  the theory of everything . Publisher.

Include the edition number in parentheses right after the book title when a book has a specific edition.

If a book is part of a multi-volume work, you can also indicate the volume number after the title.

Example 4: Parenthesis

Here are examples of how to format book titles with edition and volume numbers:

Edition Number

Johnson, M. (2022). Chemistry in Focus (2nd ed.).

Volume Number

Smith, A. (2021). History of the United States (Vol. 3).

Include the translator’s name in square brackets if you cite a translated book. 

Example 5: Translated Thesis 

Here’s an example of how to format a translated book title:

Kundera, M. (1984). The Unbearable Lightness of Being [Original title: Nesnesitelná lehkost bytí].

Translated by M. Henry.

Formatting Book Titles in Chicago Style

The Chicago Manual of Style is mostly used in the humanities and social sciences disciplines. Chicago style follows two systems, namely Author-Date System and the notes and bibliography system. Let’s explore both of them.

Author-Date System

In the author-date system, you include:

• In-text citations with the author’s last name
• The publication year
• A corresponding entry in the reference list

Italicization

In the author-date system, book titles are italicized. It makes them Distinguish from other elements in the citation.

Chicago style uses a title case for book titles in the author-date system. It means the first letter of the title, subtitles, and any major words are capitalized.

There should be a period at the end of the full book citation in the reference list.

Example 1: In-Text Citation

Example 2: Reference List Citation

Smith, John. 2019.  The Theory of Everything . Publisher.

Notes and Bibliography System

You use footnotes or endnotes in the notes and bibliography system for in-text citations and a bibliography for the full list of references.

Similar to the author-date system, book titles are italicized in the notes and bibliography system.

In the notes and bibliography system, the Chicago style uses headline-style capitalization for book titles. It means that the first letter of the first and last words of the title are capitalized.

Put a period at the end of each full bibliographic entry in the notes and bibliography system.

Example 3: Footnote/Endnote Citation

John Smith,  The Theory of Everything  (Publisher, 2019), 25.

Example 4: Bibliography Citation

Smith, John.  The Theory of Everything . Publisher, 2019.

You may include the edition number after the title, and for multi-volume works, the volume number after the title.

Example 5: Edition Number

Johnson, Mary.  Chemistry in Focus . 2nd ed.

Example 6: Volume Number

Smith, Adam.  The Wealth of Nations . Vol. 1.

For translated works, include the original title and the translator’s name in the citation.

Example 7: Translated Title

Kafka, Franz.  The Metamorphosis . Translated by David Wyllie.

Citation of Book Titles in Other Situations

Let’s highlight some unusual circumstances of including a title of book in essay. Starting with:

Book titles within quotations

If you’re citing a direct quote from a book in your essay, you may need to put the book title in quotes. Generally, you should use double quotation marks for this.

For example:

According to Mark Twain, “The secret of getting ahead is getting started.”

In the novel 1984, George Orwell explores the theme of government surveillance through the famous line, “Big Brother is watching you.”

By using double quotation marks, you indicate that the words within the quotation marks are taken directly from the book.

Book Titles in Footnotes or Endnotes

In academic writing, footnotes or endnotes can be added to give extra info or credits. When including book titles, how you format them depends on the citation style you’re using.

In Chicago Style, book titles in footnotes or endnotes should usually be italicized or in quotation marks.

For Example:

Jane Austen,  Pride and Prejudice  (New York: Penguin Classics, 2002), 45.

Harper Lee,  To Kill a Mockingbird , (New York: Harper Perennial, 2006), 77.

Handling Foreign language book titles

Follow these rules for citing a book in a foreign language. You should keep the original language title, especially if it’s a popular work.

Italicize the foreign language book title following the same guidelines as you would for an English book title. Include a translation in parentheses if necessary.

Use the original foreign language title in sentence case without italics or quotation marks. Include a translation in brackets if needed.

Italicize or use quotation marks for foreign language book titles, following the same guidelines as you would for an English book title. Include a translation if required.

Special Cases

In certain situations, you might need to format book titles differently. Like if you’re talking about a poem or play. These types of works have their own rules for formatting titles. Let’s get to know them briefly. 

Typically, you’d put poem titles in quotation marks and longer pieces of poetry, like epics, in italics. It’s worth checking the style guide you’re using, though, since the rules can vary.

You’ll usually see the title written in italics when it comes to plays. The names of characters or speakers within the play are usually written with a mix of upper- and lowercase letters, without quotation marks.

Best Practices for Including Book Titles in Essays

Double-check formatting guidelines.

It’s super important to double-check the formatting rules for book titles when writing an essay since each style guide has its own rules. You need to make sure you’re following them properly.

Proofreading for Accuracy and Consistency

Look out for mistakes in how you’ve done the capitals, italics, and quotes. Double-check any extra rules that might apply to foreign language books, poems, plays, and other special cases.

Seek Assistance from Style Guides or Writing Resources

It’s a good idea to get help from style guides or writing tools when you are stuck with citations. You can also buy cheap essay from a well-reputed writing services provider.

It’s super important to get book titles in essays right. Not just for clarity but also to show you’re a pro. Ensure that you stick to the accurate style guide. It could be MLA, APA, or Chicago. Plus, there are special rules for poems and more.

Furthermore, if you need a professional to help you out with citations, do count on the expertise of  our writers . They are always available to get you out of your troubles of how to write book titles in essays.

Do I need to include book titles in my essay?

How do i format book titles in mla style, should i italicize or use quotation marks for book titles in apa style.

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Book Titles in Essays: Formatting Rules and Examples

How do you write the title of a book in an essay?

A short answer: You look at the assignment’s requirements, see the citation style you should use, and go to a corresponding manual to see what rules it prescribes for writing book titles.

That’s when you might hit a snag:

Most rules for the main styles — APA, MLA, and Chicago — seem identical at first glance. It’s easy to miss a preposition or punctuation rule, capitalize a wrong word, or forget about italics. The devil is in the details, and the final grade for your paper depends on them.

Why not gather the formatting rules for all the citation styles in one place so that it’s more comfortable to compare them and spot specifics?

We’ve got you covered:

In this article, our essay writers share the guidelines for citing book titles in five styles. You’ll see how to write a book title in an essay and how to introduce authors. For the sake of clarity, examples are also here.

What is the title of a book in an essay?

You have several options for formatting a book title in your essay.

First, you can mention it in the essay’s body if you are quoting or paraphrasing information from the book. Also, when compiling a bibliography of the resources you used for research, you’ll need book titles for the reference list.

A book’s title and the details of its author are also essential components in the structure of book review . You’ll mention it in the introduction before summarizing a book’s plot, characters, and themes.

How to put book title in essay:

• Use italics
• Don’t underline or use quotation marks, please
• Don’t capitalize minor words like prepositions and conjunctions of three or fewer letters ( a, of, to, the, etc.) unless they are the first or last word in a book’s title

How to write a book title and author in an essay?

Details to consider:

• Is it an in-text mention or part of a reference list?
• Are you writing about an entire book or one of its chapters?
• Does the book have one or several authors?
• Does the book have a subtitle?
• Is it an independent publication or a collection of essays, series, or short stories? Are you introducing a poem in your essay?

The answers to these questions will give you a clear understanding of how to write a book title and author in an essay. The formatting rules will depend on the above factors and the citation style you should follow. (We’ve covered the two main styles —  APA and MLA — in our essay writing book , available on Amazon.)

There are also some general rules to remember, regardless of the style. Let’s move to them and explore the principles of citing book titles inside and out.

How to Introduce a Book in an Essay: General Rules

Here’s what all the styles agree on in terms of how to introduce a book in an essay:

1 — Italicize the titles of self-contained books. If you mention a novel, a movie, a stand-alone poem, a play, a database, or a website, there’s no need to use quotation marks. For example: 

• Harry Potter by J.K. Rowling
• Shakespeare’s Romeo and Juliet
• If by Rudyard Kipling

2 — The titles of parts within a book should go in quotation marks: chapter titles, titles of poems inside a collection, acts or scenes in a play, and so on. For example:

• The Great Gatsby’s “Chapter 5: The Meeting” 
• “The Mirror of Erised” from Harry Potter and the Philosopher’s Stone

3 — Capitalize both stand-alone book titles and the parts within a complete work. For example:

• The Dark Tower: The Gunslinger by Stephen King
• “Sometimes They Come Back” from Stephen King’s Night Shift

4 — When the title of a book goes within another title (like in cases with monographs about novels or poems), you should also use italics for independent works and single quotation marks for short stories and parts of books.

For example, this is how to write the title of a journal article containing the book’s title:

• “The Unbearable Weight of Authenticity: Zora Neale Hurston’s Their Eyes Were Watching God and a Theory of Touristic Reading.”

And this is how you’d write a journal article title containing the title of a short story:

• “Individualism in O’Connor’s ‘A Good Man is Hard to Find.'”

When to use a capital letter is the trickiest part of writing book titles in essays. The rules vary between style guides and their editions, which can appear confusing and make it more challenging for students to align with the requirements and ensure consistency.

Below, we’ll explore how to put book title in essay according to five different citation styles: APA, MLA, Chicago, CSE, and AMA.

How to Write the Title of a Book in an Essay: Citation Styles

While most students use APA and MLA citation styles in their academic papers, some institutions also assign alternatives like AMA or CSE. We’ve chosen the five most widespread styles for this guide so that you can have all the rules in one place and see the tiny differences between them for more precise writing.

Here, you’ll find the book title writing guidelines for these styles:

• APA (the American Psychological Association)
• MLA (the Modern Language Association)
• Chicago, aka CMOS (the Chicago Manual of Style)
• CSE (the Council of Science Editors)
• AMA (the American Medical Association)

We also recommend using an AI essay checker to revise your papers and reference lists once your drafts are ready. Whatever style you use to cite sources, this will help ensure that your text doesn’t look AI-generated. (Believe us, your teachers won’t appreciate it.)

APA is the documentation style that the American Psychological Association uses for citing sources. Originated in 1929, this form of writing is standard for social sciences like psychology, communications, sociology, and anthropology. Sometimes, it also relates to engineering, nursing, education, and other corresponding fields.

APA addresses manuscripts for journals and the academic papers students write in college. It’s the most popular and common citation style for the essays your teachers will assign during a course.

The latest version is APA Style’s 7th edition, released in 2020.

When it comes to formatting the title of a book in an essay, APA style’s requirements are easy to remember. Take a look:

MLA is a citation style created by the Modern Language Association and is mainly used in humanities like linguistics, literature, philosophy, and cultural and media studies. It’s the second most used style (after APA), with the most recent manual released in 2021 (the 9th edition).

The manual focuses on the formatting rules for in-text citations, which most users find challenging. It also has expanded guidelines on research papers, grammar mechanics, and inclusive language.

Here’s how to write a book title in an essay, according to MLA:

The Chicago Manual of Style (CMOS) is more common for published works than college papers. Many see it as the top one for writers, editors, and publishers to follow when formatting content. Unlike APA or MLA, Chicago style provides two methods for documenting sources:

• Author-date , recommended for works in the physical, natural, and social sciences. It requires using parenthetical citations in the text, with a corresponding entry on the reference page.
• Notes-bibliography , recommended for works in humanities and some social sciences. It requires using numbered footnotes in the text, with a corresponding shortened citation at the bottom of the page and a fuller citation on the reference page.

The author-date system is similar to APA style and, thus, more common for college essays. When in-text, you mention the author, the date, and the page number (if applicable) in parentheses after the quotation. Like this:

• Enlightenment thinkers, such as Kant, believed in the “universal, eternal, and … immutable qualities of all of humanity” (Harvey 1990, 12).

We can almost hear you asking:

“Can you write my essay in this format?”

Yes, we can. Whenever necessary, ask our academic expert for help with your written assignments. When asking your question, provide detailed requirements, including the citation style you need, so that they know what formatting rules to follow.

Below, let’s explore how to put a book title in an essay in CMOS:

Previously known as CBE (the Council of Biology Editors), this style provided formatting guidelines for the editors of biology journals. Today, we know it as CSE (the Council of Science Editors), and it includes many scientific fields in the life sciences, the physical sciences, and mathematics.

As with CMOS, CSE style recommends two systems for documenting sources:

• Citation-sequence , listing sources on a reference page according to the order of their appearance in the document.
• Name-year , which is similar to the author-date system used in Chicago and APA.

The complete guide is available in Scientific Style and Format: The CSE Manual for Authors, Editors, and Publishers (8th ed.) by the Council of Science Editors. Below, we’ll explore how to write a book title in an essay according to this citation style.

AMA stands for the American Medical Association, so it’s a standard citation style in medicine. While it’s less popular than APA or MLA, we’ve decided to include it in this guide anyway, given that medical students might find it helpful.

Is AMA citation the same as APA?

Not quite. While sharing some nuances, the core difference between these two citation styles is that AMA doesn’t use an author-date system in the text. Instead, we use a superscript numbering system here. Like this:

• “Smith² argues that….”

Also, unlike APA, AMA style doesn’t organize the reference list alphabetically, but numerically, based upon the order of the sources’ appearances in the text.

How to write the title of a book in an essay when you use AMA style:

How to Format a Book Title in an Essay

Long story short, most citation styles agree on using the same format for book titles in essays: capitalized, italicized, and with no underlining or quotation mark (unless you write about a book’s chapter or a shorter work like an article, an essay, or a poem within a more extensive work).

Speaking of underlined titles:

When googling information on how to write a book title in an essay, you can find questions from people wondering if they need to underline titles in papers. It’s an old-time practice from when essays were written by hand: You can’t italicize when handwriting, so you underline a title to distinguish it.

Check any book review sample online, and you’ll see that underlining isn’t a common practice anymore.

How to format a book title in an essay in your reference list:

So, How Do You Write the Title of a Book in an Essay?

Now that you’ve read our detailed guide on how to write a book title in an essay, let’s recap:

• Read the guidelines from your teacher before writing: What citation style do you need to follow?
• Check the manual for your assigned style (APA, MLA, or any other) to ensure that you format the book titles and author names correctly.
• Most citation styles (except for CSE) tell you to italicize and capitalize book titles in essays. Nevertheless, proofread carefully to avoid mistakes with the formatting of prepositions, punctuation, and subtitles.

Are you looking for a title for your next paper? Get help from our essay title generator : Give it several keywords on your topic, and get relevant and creative titles that hook your readers.

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History of Now

What Does George Orwell’s ‘1984’ Mean in 2024?

Now 75 years old, the dystopian novel still rings alarm bells about totalitarian rule

Anne Wallentine

In recent years, some conservative American groups have adopted the slogan “Make Orwell fiction again,” a line that suggests the dystopian depictions of totalitarianism, historical revisionism and misinformation found in George Orwell ’s 1984 are now reality. Liberal groups may agree with some of those concepts—but would likely apply them to different events.

Seventy-five years after its publication on June 8, 1949, Orwell’s novel has attained a level of prominence enjoyed by few other books across academic, political and popular culture. 1984 ’s meaning has been co-opted by groups across the political spectrum, and it consequently serves as a kind of political barometer. It has been smuggled behind the Iron Curtain during the Cold War and used as counterpropaganda by the CIA; at moments of political crisis, it has skyrocketed to the top of best-seller lists.

The language and imagery in the novel—which Anthony Burgess, author of A Clockwork Orange , once called “an apocalyptical codex of our worst fears”—have also been reinterpreted in music, television, advertisements and films, shaping how people view and discuss the terror of political oppression. The terms the book introduced into the English language, like “Big Brother” and “thought police,” are common parlance today. “ Big Brother ” is now a long-running reality TV show. 1984 -like surveillance is possible through a range of tracking technologies. And the contortion of truth is realizable via artificial intelligence deepfakes . In a world that is both similar to and distinct from Orwell’s imagined society, what does 1984 mean today?

Jean Seaton , director of the Orwell Foundation and a historian at the University of Westminster in England, says that 1984 has become a way to “take the temperature” of global politics. “It goes up and down because people reinvent it [and] because people turn to it … to refresh [their] grasp on the present. It’s useful because you think, ‘How bad are we in comparison to this?’”

In 1984 , three totalitarian states rule the world in a détente achieved by constant war. The all-seeing Party dominates a grimly uniform society in the bloc called Oceania. As a low-level Party member, protagonist Winston Smith’s job is to rewrite historical records to match the ever-changing official version of events. As a Party slogan puts it , “Who controls the past controls the future: Who controls the present controls the past.”

Winston begins to document his contrarian thoughts and starts an illicit affair with a woman named Julia, but the two are soon caught and tortured into obedience by the regime. Ultimately, Smith’s individuality and attempt to rebel are brutally suppressed. While most contemporary societies are nothing like the book’s dystopia, in the context of today’s proliferating misinformation and disinformation , the Party’s primary propaganda slogans—“War is peace,” “Freedom is slavery” and “Ignorance is strength”—don’t seem all that far-fetched.

According to Orwell’s son, Richard Blair , the writer thought his novel would “either be a best seller or the world [would] ignore it. He wasn’t quite sure which of the two it would be.” But soon after its publication, 1984 ’s best-seller status became clear. The book has since sold around 30 million copies. It most recently returned to the top of the American best-seller list in January 2017, after a Trump administration adviser coined the doublespeak term “alternative facts.”

“It’s a very relevant book … to the world of today,” Blair says. “The broad issue [is] the manipulation of truth, something that large organizations and governments are very good at.”

Many other dystopian novels carry similar warnings. So why does 1984 have such staying power? Orwell’s novels “all have exactly the same plot,” says the author’s biographer D.J. Taylor . “They are all about solitary, ground-down individuals trying to change the nature of their lives … and ultimately being ground down by repressive authority.”

1984 , Taylor adds, is the apotheosis of Orwell’s fears and hypotheses about surveillance and manipulation: “It takes all the essential elements of Orwell’s fiction and then winds them up another couple of notches to make something really startling.” Orwell’s precise, nightmarish vision contains enough familiar elements to map onto the known world, giving it a sense of alarming plausibility.

The novel traces the dystopian future onto recognizable London landmarks. “The really scary thing for the original readers in 1949 was that although it was set in 1984, it’s there: It’s bomb-cratered, war-torn, postwar England,” says Taylor. The University of London’s Senate House inspired the novel’s “ Ministry of Truth ,” as it had housed the Ministry of Information during World War II’s propaganda push.

Born Eric Blair in 1903, Orwell had a short but prolific writing career, chronicling politics, poverty and social injustice before his early death from tuberculosis in January 1950, just seven months after 1984 ’s publication. Though an accomplished essayist, Orwell is best known for 1984 and Animal Farm , his 1945 satire of Stalinist Russia.

Born in Bengal when the region was under British colonial rule, Orwell studied at Eton College but left the school to follow his father into the civil service. He became disillusioned with the colonial British Raj while serving in the Indian Imperial Police in Burma, an experience that inspired his first novel, Burmese Days . In 1927, Orwell returned to England and Europe, where he immersed himself in working-class poverty to write Down and Out in Paris and London and The Road to Wigan Pier . He fought against fascism in the Spanish Civil War, almost dying from a throat wound. The conflict reinforced his socialist politics : “Everything he wrote after that was against totalitarianism [and] for democracy,” Blair says.

Orwell wrote 1984 while battling tuberculosis on the Isle of Jura in Scotland, aware that his condition was deteriorating as he wrote the novel, Taylor says. Upon finishing the manuscript, he went to a London hospital for treatment, where he married editorial assistant Sonia Brownell from his hospital bed. The writer died three months later at age 46. Blair, whom Orwell had adopted with his first wife, Eileen O’Shaughnessy, shortly before her death in 1945, was 5 years old at the time.

Though Orwell described 1984 as a warning rather than a prophecy, scholars have demonstrated significant interest in mapping the author’s imaginings onto the modern world. “When I started writing, what I was involved in was something you could call ‘Orwell Studies.’ And now there's an Orwell industry,” says Taylor, who has published two biographies of the author. (His latest , released in 2023, was informed by new primary source material.)

Taylor attributes this popularity to Orwell’s “uncanny ability … to predict so many of the things that trouble us here in the 2020s.” He notes that in the United Kingdom, Orwell mainly draws political and literary audiences, while in the United States, scientific circles are increasingly curious about Orwell’s foreshadowing of modern technology and surveillance methods.

“There’s something about his work that keeps getting reinvented and reactivated” in relation to events that happened well after Orwell’s death, says Alex Woloch , a literary scholar at Stanford University. “I think of Orwell as a text that people can turn to in confronting many different kinds of political problems, and particularly propaganda, censorship and political duplicity.”

Orwell’s “main relevance in the U.S. was forged during the Cold War,” Woloch says. A democratic socialist and anti-Stalinist, Orwell was able to “represent the contradictions of the communist ideology, the gap between its self-image and its reality.” 1984 and Animal Farm “were understood as the exemplary anti-communist texts ,” embedded in U.S. curriculums and widely taught in the decades since.

“With the end of the Cold War,” Woloch adds, “Orwell’s writing could be claimed by many different people who were arguing against what they saw as various forms of political deceptiveness,” from the Marxist Black Panther Party to the ultraconservative John Birch Society .

“It’s very difficult to think of another writer who’s so much admired across all parts of the political spectrum,” Taylor says. “He’s almost unique in that way.”

Adapted to the needs of a broad range of readers, 1984 took on a life beyond its author and its pages. In her forthcoming book, George Orwell and Communist Poland: Émigré, Official and Clandestine Receptions , Krystyna Wieszczek , a research fellow at Columbia University, explores the use of 1984 as a tool of resistance. The novel “provided an easy-to-use vocabulary … that [readers] could use to name the phenomenon” of oppression, Wieszczek says. Copies were smuggled into Poland and other countries behind the Iron Curtain that divided Eastern Europe from Western Europe, some even in the diplomatic bag of a secretary to the French Embassy in Warsaw.

In the 1950s, a CIA operation sent Animal Farm and other “printed matter from the West [into communist countries] in gas-filled balloons,” Wieszczek says. But many Poles objected to this tactic, fearing a reprise of the devastating and unsuccessful 1944 Warsaw Uprising . Through distribution points across Europe, the U.S. also sent millions of copies of anti-communist literature, including 1984 , to Poland. According to Wieszczek, surveys suggest that as much as 26 percent of Poland’s adult population—around seven million people—had some access to clandestine publications in the 1980s. Polish émigré imprint s like Kultura in Paris also ensured banned publications reached audiences in the Eastern bloc during the Cold War. Cheekily, one of Kultura’s editions of 1984 even used a “Soviet militant poster as a cover,” Wieszczek says.

“Many people read 1984 as a very negative, pessimistic book, but … it had a kind of liberating impact … for some readers,” she explains. They were reading a banned book about banned books that reflected, to an extent, their own circumstances.

“ 1984 is a horrible book,” Wieszczek adds. “You never forget—it stays with you, this big pressure on the chest and the stomach. But somehow, it brought hope. There was this man on other side of the Iron Curtain who understood us. … There is hope because people understand.”

A protean text for political, intellectual and underground movements, 1984 has also resonated in popular culture. Its myriad artistic interpretations are explored in Dorian Lynskey’s The Ministry of Truth: The Biography of George Orwell’s 1984 . The novel inspired television shows, films , plays, a David Bowie album (though Orwell’s widow, Sonia, turned down the artist’s offer to create a 1984 musical) and even a “ Victory gin ” based on the grim spirits described in the novel. It was cited in songs by John Lennon and Stevie Wonder and named by assassin Lee Harvey Oswald as one of his favorite books. And its imagery continues to inform the public’s perception of what might happen if 1984 weren’t fiction after all.

In January 1984, an Apple Macintosh ad directed by Ridley Scott aired during the Super Bowl. It depicted a maverick woman smashing a Big Brother-esque screen that was broadcasting to the subordinate masses, and it ended with the tagline , “You’ll see why 1984 won’t be like ‘1984.’” The implication was that buying Apple products would set people apart from the crowd. In an Orwellian twist, although the ad positioned Apple as the underdog against the dominant IBM, the company actually had a competitive market share, claiming 25 percent to IBM’s 24 percent at the end of 1983.

While the term “Orwellian” can be used to describe Orwell’s style, “the classic use … is for politicians [who] grotesquely misuse language for ideological purposes and use language to disguise or pervert reality rather than to expose it,” Woloch says. Today, the phrase has become a “floating signifier,” Taylor says. “It’s so regularly used it doesn’t actually mean anything.” He cites a politician misusing “Orwellian” to complain about a perceived personal injustice (a canceled book contract).

“[Orwell’s] books have such widespread currency that you can use him to describe anything, really,” Taylor adds. “The word can mean anything and nothing at the same time.”

This is ironic, given how precise Orwell was about language. The reduction of language and creative thought to “ Newspeak ” in the novel figures largely in the population’s oppression. Orwell “was passionately committed to language as a contract crucial to all our other contracts,” writes Rebecca Solnit in Orwell’s Roses . He is “an exemplar of writing as the capacity to communicate other people’s experience,” Seaton says, “… so to read Orwell is, in a sense, to defend language and writing.”

Orwell’s main question, according to Woloch, “is how, as a thinking person and a fair-minded person, … do you confront the genuine pervasiveness of political problems that make up the world that we’re in?” The scholar quotes Orwell’s famous line from a 1938 New Leader essay : “It is not possible for any thinking person to live in such a society as our own without wanting to change it.”

“The big three themes [of 1984 ] that people ought to bear in mind,” Taylor suggests, “are the denial of objective truth, which we see everywhere about us, every war that’s currently taking place anywhere in the world and in quite a lot of domestic political situations, too; the manipulation of language … and the use of words to bamboozle people; and the rise of the surveillance society. … That to me, is the definition of the adjective ‘Orwellian’ in the 21st century.”

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Anne Wallentine | | READ MORE

Anne Wallentine is a writer and art historian with a focus on the intersections of art, culture and health. A graduate of Washington University in St. Louis and the Courtauld Institute of Art, she writes for outlets that include the Financial Times , the Economist , the Art Newspaper  and Hyperallergic .

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Boys Get Everything, Except the Thing That’s Most Worth Having

By Ruth Whippman

Ms. Whippman is the author of “Boymom: Reimagining Boyhood in the Age of Impossible Masculinity.”

The 20-year-old college student and gamer I met in Cedar City, Utah, didn’t seem particularly amused by his own joke that he was a cultural cliché. He lived in his grandma’s basement, and barely left the house except to go to classes. He spent the vast majority of his free time online — playing video games, watching porn and hanging out on Discord, the heavily male-skewed communication platform, where users gather in communities devoted to topics ranging from the innocuously nerdy to the utterly horrifying. By his own admission, he was brutally lonely.

During the pandemic, he was a moderator for a Discord community, at first mainly sorting out technical problems and weeding out trolls. But one night, an adolescent boy called him over voice chat, and started sharing how lonely and depressed he was. He spoke with the boy for an hour, trying to talk him down and give him hope. That call led to more like it. Over time, he developed a reputation as an unofficial therapist on the server. By the time he left Discord a year or so later, he’d had about 200 calls with different people, both men and women, who spoke of contemplating suicide.

But it was the boys who seemed the most desperately lonely and isolated. On the site, he said, he found “a lot more unhealthy men than unhealthy women.” He added: “With men, there is a huge thing about mental health and shame because you’re not supposed to be weak. You’re not supposed to be broken.” A male mental-health crisis was flying under the radar.

I have spent the last few years talking to boys as research for my new book, as well as raising my own three sons, and I have come to believe the conditions of modern boyhood amount to a perfect storm for loneliness. This is a new problem bumping up against an old one. All the old deficiencies and blind spots of male socialization are still in circulation — the same mass failure to teach boys relational skills and emotional intelligence, the same rigid masculinity norms and social prohibitions that push them away from intimacy and emotionality. But in screen-addicted, culture war-torn America, we have also added new ones.

The micro-generation that was just hitting puberty as the #MeToo movement exploded in 2017 is now of college (and voting) age. They have lived their whole adolescence not just in the digital era, with a glorious array of virtual options to avoid the angst of real-world socializing, but also in the shadow of a wider cultural reckoning around toxic masculinity.

We have spent the past half-decade wrestling with ideas of gender and privilege, attempting to challenge the old stereotypes and power structures. These conversations should have been an opportunity to throw out the old pressures and norms of manhood, and to help boys and men be more emotionally open and engaged. But in many ways this environment has apparently had the opposite effect — it has shut them down even further.

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Nell Irvin Painter’s understanding of America is beautiful and bracing. We should listen.

“I Just Keep Talking” brings together wide-ranging and pointed essays by the author of “The History of White People.”

From the opening sentences of her new collection, “I Just Keep Talking: A Life in Essays,” historian Nell Irvin Painter addresses readers in a voice brimming with knowledge, clarity and, most delightfully, confidence. As she writes, it would have been a terrible thing had she died young, “during the full-blown era of White-male-default segregation, discrimination, and disappearance that wound down only yesterday. I would have disappeared from memory, just another forgotten Black woman scholar, invisible to history and to histography.” And poor readers would have been deprived of her droll wit and self-assured wisdom.

It’s no small thing that in an era filled with grievances based on injuries that are sometimes profound and often perceived, Painter makes it clear that she has not come to this memoir to reclaim a lost or damaged part of herself. She recounts her response to an admirer who once inquired about what she did for healing. “‘Nothing,’ I said. ‘I’m not broken.’ Not broken, but on occasion frustrated, indignant — self-righteously — pissed off with cause, often exhausted, but mostly and permanently grateful for the people who have protected me, mentored me, supported me over so many decades.” This is an invigorating introduction, full of certainty and strength. Painter has moved through her professional life always knowing her worth, never doubting her intelligence and believing that those who might refuse to listen to her insight would be lesser for their decision.

Perhaps it requires a historian to fully grasp the importance — or at least the impact — of telling one’s own story with a certain brio. Painter, 81, is an esteemed historian retired from Princeton University who studied painting later in life, including at the Rhode Island School of Design. (She wrote about that experience in an earlier memoir, “ Old in Art School .”) The essays in “I Just Keep Talking,” which reflect upon the meaning of “Whiteness,” our understanding of enslavement and the power of nuance, among other subjects, are accompanied by her artwork, which sometimes amplifies her words and sometimes stands in their stead. It is a beautiful book. But its power ultimately rests in the sentences, not the pictures.

In some cases, Painter turns her attention to long-ago history, such as the legacy of Sojourner Truth. She informs readers that the 19th-century abolitionist and women’s rights activist did not utter the most famous phrase attributed to her: “Ain’t I a woman?” If Truth had, in fact, asked the question, Painter says, society’s answer would have been “no.” The answer not only would have reflected the circumstances of the times but would have undercut the way in which Truth understood her power and the skill with which she used it.

The Truth sketched by Painter, in an essay from 1994, is more complex than the one who has been reduced to a misattributed slogan. Truth eschewed the trappings of intellectualism and freedom as used by orator Frederick Douglass, and built her “public persona to establish that what had happened to her — her enslavement, rather than her reason — lent her a unique wisdom.”

Painter’s assessment of Truth is searing, sad and deeply revealing to a lay reader. Truth understood a reality of her time, which is that “in the eyes of most nineteenth-century Americans to be both memorable and woman at the same time simply was not possible. Black women’s individual experience had either to be reconstructed as something emblematically Negro — that is, as enslaved — or to be erased.”

As always, understanding our history means understanding ourselves. We carry our history with us: what we’ve learned in textbooks, what has been burnished in familial oral histories and what has been prettied up by politicians. Painter reminds us of history’s complications and subtleties. She encourages civilians — not just activists or academics — to ask all the pertinent questions, even the uncomfortable ones or those that are contrary to our individual politics and preferences.

What did slavery do to those who were in bondage? But also, what did it do to those who enforced it? Painter is insistent in her refusal to cave to the “national hunger for simplifying history.” She is a dogged corrector of the public record. She has even included in this book a letter to the editor she had published in the New Yorker in 2022, in which she carefully disentangles Truth from the famous slogan.

Painter does not limit her sharp critiques to distant ancestors and abolished institutions; she considers still-vibrant personalities and more recent upheavals. She takes us back to the Supreme Court confirmation hearings of Clarence Thomas in 1991, during which Anita Hill, in the pre-#MeToo era, testified to Thomas’s sexual harassment of her. Painter highlights the way in which Thomas forced Hill into the role of spoiler of circumstances that were not yet a fait accompli.

“In a struggle between himself and a woman of his same race, Thomas executed a deft strategy,” Painter writes. “He erected a tableau of White-Black racism that allowed him to occupy the position of the race . By reintroducing concepts of White power, Thomas made himself into the Black person in his story. Then, in the first move of a two-step strategy, he cast Anita Hill into the role of Black woman as traitor to the race .”

Painter continues: “The most common formula expressing minority status is ‘women and Blacks.’ As the emblematic woman is White and the emblematic Black is male, Black women generally are not as easy to comprehend symbolically.”

The racial and gender dynamics that were evident during that 20th-century Shakespearean drama continue to resonate in this century. Black music mogul Sean Combs faces accusations of harassment and violence by women over whom he wielded power. Justice Thomas remains a controversial figure, facing scrutiny over his ethics on the bench and questions about potential conflicts of interest . And Hill has become a revered standard-bearer of a new generation of women who have spoken their truth under daunting circumstances, including Christine Blasey Ford during the 2018 confirmation hearings of Justice Brett M. Kavanaugh.

History simply refuses to remain in the past.

Painter is also the author of “The History of White People” (2010), an exploration of how and why certain individuals were sorted into that racial category. Its sweeping audacity left some observers bemused, not by what it said about our construction of race but by the skin color of the woman who wrote it. Painter has swagger. And in this memoir, she takes advantage of all the privileges of a historian to take an arm’s-distance look at a people, not just those who look like her . She explains Whiteness and how the concept politically evolved during the presidency of Donald Trump.

Whiteness had always been the default, the standard against which all others were measured. Social and political acceptability were based on how closely one hewed to the White ideal. To claim Whiteness as an identity, however, was problematic, because those who did so were white nationalists and supremacists. They were members of the Ku Klux Klan. White pride was a political hand grenade.

“What the time of Trump does for us now is make White Americans visible as raced Americans, as raced counterparts to Black Americans. Long-standing assumptions — that only non-Whites have racial identities, that White Americans are individuals who only have race if they’re Nazis or White nationalists — those assumptions no longer hold,” Painter writes in an essay from 2018. “I’m turning the glass around to focus on what living in a slave society did to non-Black Americans and to the society as a whole.”

Painter puts muscle and heart into history so that her readers can easily, but thoughtfully, draw the lines between past and present. Her history is inclusive, not in a pandering or self-consciously correct way, but because her artful telling of it is full of complexity that’s both beautiful and bracing.

“Once we can write the words ‘trauma’ and ‘slavery’ in the same sentence, we will have enriched our understanding of slavery’s human costs, for enslaved, enslavers, and bystanders,” she writes.

In her memoir, Painter offers an intellectual history of herself, but also a history of us. We’re lucky that she continues to talk. What she has to say can help us more fully understand ourselves — but only if we’re willing to listen.

I Just Keep Talking

A Life in Essays

By Nell Irvin Painter

Doubleday. 418 pp. $35

We are a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for us to earn fees by linking to Amazon.com and affiliated sites.

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The best new science fiction books of May 2024

A new Stephen King short story collection, an Ursula K. Le Guin reissue and a celebration of cyberpunk featuring writing from Philip K. Dick and Cory Doctorow are among the new science fiction titles published this month

By Alison Flood

A new short story collection from Stephen King, You Like It Darker, is out in May

Shane Leonard

Every month, I trawl through publishers’ catalogues so I can tell you about the new science fiction being released. And every month, I’m disappointed to see so much more fantasy on publishers’ lists than sci-fi. I know it’s a response to the huge boom in readers of what’s been dubbed “ romantasy ”, and I’m not knocking it – I love that sort of book too. But it would be great to see more good, hard, mind-expanding sci-fi in the offing as well.

In the meantime, there is definitely enough for us sci-fi fans to sink our teeth into this month, whether it’s a reissue of classic writing from Ursula K. Le Guin, some new speculative short stories from Stephen King or murder in space from Victor Manibo and S. A. Barnes.

Last month, I tipped Douglas Preston’s Extinction and Sofia Samatar’s The Practice, the Horizon, and the Chain as books I was looking forward to. I can report that they were both excellent: Extinction was a lot of good, clean, Jurassic Park -tinged fun, while Samatar’s offering was a beautiful and thought-provoking look at life on a generation ship.

The Language of the Night: Essays on writing, science fiction, and fantasy by Ursula K. Le Guin

There are few sci-fi and fantasy writers more brilliant (and revered) than Ursula K. Le Guin. This reissue of her first full-length collection of essays features a new introduction from Hugo and Nebula award-winner Ken Liu and covers the writing of The Left Hand of Darkness and A Wizard of Earthsea , as well as her advocacy for sci-fi and fantasy as legitimate literary mediums. I’ve read some of these essays but not all, and I won’t be missing this collection.

Nuclear War: A Scenario by Annie Jacobsen

This isn’t science fiction, not quite, but it is one of the best and most important books I have read for some time. It sees Jacobsen lay out, minute by minute, what would happen if an intercontinental ballistic missile hit Washington DC. How would the US react? What, exactly, happens if deterrence fails? Jacobsen has spoken to dozens of military experts to put together what her publisher calls a “non-fiction thriller”, and what I call the scariest book I have possibly ever read (and I’m a Stephen King fan; see below). We’re currently reading it at the New Scientist Book Club, and you can sign up to join us here .

New Scientist book club

Love reading? Come and join our friendly group of fellow book lovers. Every six weeks, we delve into an exciting new title, with members given free access to extracts from our books, articles from our authors and video interviews.

The Big Book of Cyberpunk (Vol 1 & 2)

Forty years ago, William Gibson published Neuromancer . Since then, it has entranced millions of readers right from its unforgettable opening line: “The sky above the port was the color of television, tuned to a dead channel…”. Neuromancer gave us the literary genre that is cyberpunk, and we can now welcome a huge, two-volume anthology celebrating cyberpunk’s best stories, by writers from Cory Doctorow to Justina Robson, and from Samuel R. Delaney to Philip K. Dick. I have both glorious-sounding volumes, brought together by anthologist Jared Shurin, on my desk (using up most of the space on it), and I am looking forward to dipping in.

You Like It Darker by Stephen King

You could categorise Stephen King as a horror writer. I see him as an expert chronicler of the dark side of small-town America, and from The Tommyknockers and its aliens to Under the Dome with its literally divisive trope, he frequently slides into sci-fi. Even the horror at the heart of It is some sort of cosmic hideousness. He is one of my favourite writers, and You Like It Darker is a new collection of short stories that moves from “the folds in reality where anything can happen” to a “psychic flash” that upends dozens of lives. There’s a sequel to Cujo , and a look at “corners of the universe best left unexplored”. I’ve read the first story so far, and I can confirm there is plenty for us sci-fi fans here.

Enlightenment by Sarah Perry

Not sci-fi, but fiction about science – and from one of the UK’s most exciting writers (if you haven’t read The Essex Serpent yet, you’re in for a treat). This time, Perry tells the story of Thomas Hart, a columnist on the Essex Chronicle who becomes a passionate amateur astronomer as the comet Hale-Bopp approaches in 1997. Our sci-fi columnist Emily Wilson is reviewing it for New Scientist ’s 11 May issue, and she has given it a vigorous thumbs up (“a beautiful, compassionate and memorable book,” she writes in a sneak preview just for you guys).

Ghost Station by S.A. Barnes

Dr Ophelia Bray is a psychologist and expert in the study of Eckhart-Reiser syndrome, a fictional condition that affects space travellers in terrible ways. She’s sent to help a small crew whose colleague recently died, but as they begin life on an abandoned planet, she realises that her charges are hiding something. And then the pilot is murdered… Horror in space? Mysterious planets? I’m up for that.

In Hey, Zoey, the protagonist finds an animatronic sex doll hidden in her garage

Shutterstock / FOTOGRIN

Hey, Zoey by Sarah Crossan

Hot on the heels of Sierra Greer’s story about a sex robot wondering what it means to be human in Annie Bot , the acclaimed young adult and children’s author Sarah Crossan has ventured into similar territory. In Hey, Zoey , Dolores finds an animatronic sex doll hidden in her garage and assumes it belongs to her husband David. She takes no action – but then Dolores and Zoey begin to talk, and Dolores’s life changes.

How to Become the Dark Lord and Die Trying by Django Wexler

Davi has tried to take down the Dark Lord before, rallying humanity and making the final charge – as you do. But the time loop she is stuck in always defeats her, and she loses the battle in the end. This time around, Davi decides that the best thing to do is to become the Dark Lord herself. You could argue that this is fantasy, but it has a time loop, so I’m going to count it as sci-fi. It sounds fun and lighthearted: quotes from early readers are along the lines of “A darkly comic delight”, and we could all use a bit of that these days.

Escape Velocity by Victor Manibo

It’s 2089, and there’s an old murder hanging over the clientele of Space Habitat Altaire, a luxury space hotel, while an “unforeseen threat” is also brewing in the service corridors. A thriller in space? Sounds excellent – and I’m keen to see if Manibo makes use of the latest research into the angle at which blood might travel following violence in space, as reported on by our New Scientist humour columnist Marc Abrahams recently.

The best new science fiction books of March 2024

With a new Adrian Tchaikovsky, Mars-set romance from Natasha Pulley and a high-concept thriller from Stuart Turton due to hit shelves, there is plenty of great new science fiction to be reading in March

In Our Stars by Jack Campbell

Part of the Doomed Earth series, this follows Lieutenant Selene Genji, who has been genetically engineered with partly alien DNA and has “one last chance to save the Earth from destruction”. Beautifully retro cover for this space adventure – not to judge a book in this way, of course…

The Downloaded by Robert J. Sawyer

Two sets of people have had their minds uploaded into a quantum computer in the Ontario of 2059. Astronauts preparing for the world’s first interstellar voyage form one group; the other contains convicted murderers, sentenced to a virtual-reality prison. Naturally, disaster strikes, and, yup, they must work together to save Earth from destruction. Originally released as an Audible Original with Brendan Fraser as lead narrator, this is the first print edition of the Hugo and Nebula award-winning Sawyer’s 26 th novel.

The Ferryman by Justin Cronin

Just in case you still haven’t read it, Justin Cronin’s gloriously dreamy novel The Ferryman , set on an apparently utopian island where things aren’t quite as they seem, is out in paperback this month. It was the first pick for the New Scientist Book Club, and it is a mind-bending, dreamy stunner of a read. Go try it – and sign up for the Book Club in the meantime!

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The Best Fiction Books » Science Fiction

The best science fiction: the 2024 arthur c. clarke award shortlist, recommended by andrew m. butler.

Every year, the judges for the Arthur C. Clarke Award highlight the best of the latest batch of science fiction books. In 2024, the six-strong shortlist includes an exploration of octopus intelligence, a queer space opera, and a dystopian novel hailed as the new  Hunger Games .  Andrew M. Butler , academic and chair of the judges, talks us through the finalists for the title of sci fi novel of the year.

Interview by Cal Flyn , Deputy Editor

Chain Gang All Stars: A Novel by Nana Kwame Adjei-Brenyah

The Ten Percent Thief by Lavanya Lakshminarayan

In Ascension by Martin MacInnes

The Mountain in the Sea by Ray Nayler

Some Desperate Glory by Emily Tesh

Corey Fah Does Social Mobility: A Novel by Isabel Waidner

1 Chain Gang All Stars: A Novel by Nana Kwame Adjei-Brenyah

2 the ten percent thief by lavanya lakshminarayan, 3 in ascension by martin macinnes, 4 the mountain in the sea by ray nayler, 5 some desperate glory by emily tesh, 6 corey fah does social mobility: a novel by isabel waidner.

T hanks for joining us again to discuss the shortlist for the 2024 Arthur C. Clarke Award for the science fiction book of the year. Might you remind our readers what your judges are looking for?

Let’s step through the six science fiction books shortlisted for the 2024 prize one by one, starting with Nana Kwame Adjei-Benyah’s Chain-Gang All Stars . This is a dystopian novel that some have likened to The Hunger Games . What did the judges like about it?

Next up we have The Ten Percent Thief by Lavanya Lakshminarayan. Why is it one of the best sci-fi books of 2024?

This is a mosaic novel , which I suspect is a specialism of science fiction and fantasy – think of Ray Bradbury’s Martian Chronicles .

Yes. I can also think of Jennifer Egan’s incredible, semi-speculative A Visit from the Goon Squad ,  and – more recently – Sequoia Nagamatsu’s  How High We Go in the Dark . Or even  World War Z .

Intriguing. The third book on the 2024 shortlist is Martin MacInnes’s In Ascension . It falls on the more literary end of the sci-fi spectrum and was previously longlisted for the Booker Prize . Tell us more.

It was also named the Blackwell’s Book of the Year . One of their judges called it “a science fiction novel fit for the 21st century.”

I think it’s the most Clarkeian book on the shortlist, with adventures deep under the sea and ventures into outer space. It’s also got a bit of a Gravity vibe at times, although one of the judges would like to see Denis Villeneuve adapt it for the big screen after Dune .

Sounds epic.

Let’s turn our attention to Ray Naylor’s The Mountain in the Sea . Jeff VanderMeer called it “a first-rate speculative thriller.” Might you introduce us, and explain why it is one of the science fiction books of 2024?

It’s got octopus, so what more does anyone need to know?

In fact, speaking of Denis Villeneuve, there’s a hint of the film Arrival in the depiction of the attempts to make first contact with a very alien species – octopus anatomy and psychology is so aliens to ours and there’s been some speculation that they come from a very different origin to us . They are incredibly talented at escaping from captivity and seeking revenge on their human keepers.

Absolutely. I read a fascinating nonfiction book about octopus and cuttlefish intelligence, Other Minds . I can see why they might inspire speculative fiction.

Sounds great. That brings us to Some Desperate Glory , a queer space opera by Emily Tesh. What should readers expect?

There’s a slightly daunting trigger warning at the start, which I took as a bit of a hint not to take the main protagonist at face value.

Much of humanity has been wiped out by an alien species, with a surviving rump of humanity divided into the military and ‘breeders.’ Seventeen-year-old Kyr learns that she has been assigned to reproduction, whilst her brother has been given a suicide mission – but may have defected. She sets off to track him down, and in the process discovers that the situation isn’t quite as she’s been led to believe.

The final science fiction book on the 2024 Clarke Award shortlist is Corey Fah Does Social Mobility by Isabel Waidner. The Guardian described it as an “energetic inquiry into class politics and cultural capital.” In a science fiction context, I presume! Can you talk us through it?

This is perhaps this year’s wild card and I think it may have been one the judges called in.

Waidner won the Goldsmiths prize for Sterling Karat Gold , their third novel, but theirs was a new name to me and I want to work my way through their back catalogue. The eponymous protagonist has won a prize in a city that seems to be a surreal version of Prague, but there’s a complication when they try to collect it. They enlist the help of a chat show host to track it down, but they seem as busy dealing with an eight-legged version of Bambi…

There are nods to a real murdered playwright, to Franz Kafka , to Disney and to the American artist Nicole Eisenman , alongside time travel and paradoxes. In the meantime, the novel raises questions about gender, sexuality, class, intersectionality and creativity, in a short but densely constructed narrative. Of course, if they win, we need to send them to Hyde Park so they can fail to pick up the trophy!

Has it been a good year for science fiction? Are you left feeling optimistic about the state of the genre in 2024?

We have a shortlist with six authors new to the award, although only a couple are debuts. Which is not to say that there weren’t great books by previous winners or shortlistees – but none of them cut through. One of the jobs of the award is to promote writers that not everyone has heard of, and each of these novels stand alone, rather than being parts of long series. I like series fiction, but it’s sometimes hard to find the entry point.

There are a lot of publishers that are still committed to print fiction, including some ambitious small presses and some people who have chosen the self-publication route. I’m optimistic because publishers are taking chances.

I haven’t crunched the numbers on demographics on the submissions list, but I don’t think we were in danger of an all-male shortlist. On the other hand, I think writers of colour are still underrepresented by British publishers. I hasten to say, there’s nothing inherently wrong with novels by cis, straight, white men – and the judges definitely don’t pick books to meet any kind of quotas – but it’s great to get perspectives that are different from the majority of the last century of science fiction writers.

June 4, 2024

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Andrew M. Butler

Andrew M. Butler is a British academic who teaches film, media and communications at Canterbury Christ Church University. He is a former editor of Vector , the critical journal of the British Science Fiction Association and was membership secretary of the Science Fiction Foundation. He is the non-voting chair of the judges for the Arthur C. Clarke Award for Science Fiction.

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