how to write a three story thesis

Developing Your Thesis

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[There are] one-story intellects, two-story intellects, and three-story intellects with skylights. All fact collectors, who have no aim beyond their facts, are one-story men. Two-story men compare, reason, generalize, using the labor of the fact collectors as their own. Three-story men idealize, imagine, predict; their best illumination comes from above, through the skylight. — Oliver Wendell Holmes, Sr., “The Poet at the Breakfast Table” 50

The thesis, usually expressed in one or two sentences, is the central, organizing claim of your paper. Holmes’s distinction above between one-, two-, and three-story intellects is a useful way to think about your thesis.

• A one-story thesis shows that you have read the material.
• A two-story thesis commits to helping your reader better grasp what s/he may have missed.
• A three-story thesis challenges your reader’s understanding of the material and promises to broaden and deepen your reader's grasp of implications and significance.

A one-story thesis may be adequate for some situations, but it is limited in scope, and your reader is unlikely to find a one-story-thesis challenging or engaging. Why stay on the ground floor when you can see the view from above?

Know your objectives

To decide whether to develop a one-, two-, or three-story thesis, you need to know your objectives. The level of analysis you pursue depends on the assignment’s goals. At times, a one- or a two-story thesis is an adequate response; for instance, for an assignment asking you to summarize a reading or respond to a specific question. But because a paper driven by a three-story thesis demands that you address a real analytical problem, it will be more challenging for you to write, more engaging for your reader, and will result in a superior paper.

One-story thesis

A one-story thesis demonstrates your ability to collect and report facts . A one-story thesis typically results in an essay that may be adequate, but it is dull because it doesn't have a great deal to say. A paper with a one-story thesis describes and summarizes information, but it does not address a problem worth examining. A one-story thesis offers to “prove” a point that should be apparent to anyone who has read the material.

Example 1: In Shakespeare’s sonnet 18, the speaker compares his lover to a summer’s day in order to praise his lover's superior beauty.

This thesis leads to description: a summer’s day is like this, the lover is like that. Most readers will make the same observation; it doesn't need to be proven.

Example 2: In Marie de France’s poetry, some characters who indulge in adultery are rewarded for their behavior, while others are punished.

This thesis also leads to description and indicates the shape of the discussion: some things happen to these characters, other things happen to those characters. Most readers will have already noticed this fact.

A one-story thesis will leave the good reader with a lingering question: “So what? Tell me more.”

Two-story thesis

A two-story thesis goes beyond the obvious. Rather than being a collection and reporting of facts, a two-story thesis examines how the facts work in relation to one another and thus allows for interpretation, inference, and complication. A two-story thesis generally points to a genuine problem raised by the evidence, although it may not go all the way towards explaining a solution.

Example 1: Comparing his lover to a summer’s day in sonnet 18, Shakespeare’s speaker argues that his verse will confer immortality on his lover, while even the most gorgeous day will quickly fade into night.

Unlike the one-story thesis, this thesis is not immediately obvious . But while the two-story thesis is more complicated and thoughtful than the one-story variety, it is still a kind of reporting of the facts: the lover’s beauty will survive, while the beautiful day will perish.

Example 2: Marie de France treats adultery very inconsistently: some adulterous characters are rewarded, while others are punished. Typically, the author rewards those characters who enter into adulterous relationships to escape from an unhappy marriage, and she punishes those who commit adultery simply for lust or profit.

Similar to example one, this two-story thesis is not obvious; the writer must use reasoning and evidence to prove the thesis to the reader. But while the two-story thesis is certainly preferable, it is still a reporting of the facts: the “good” adulterers are like this, the “bad” are like that. A good reader will be left with the question, “What are the implications of your observations?”

Missing in both one- and two- story theses: analysis .

Why does it matter that Shakespeare distinguishes between eternal and transitory beauty? How does knowing this advance your understanding of the poem? Why does it matter that some adulterers are rewarded and others are punished? Why is it significant that Marie de France distinguishes between motives?

Three-story thesis

A three-story thesis (the one with Holmes’s skylight) answers the question, “Why is this idea important?” It addresses and resolves some of the complexities of a real analytical problem.

The three-story thesis, clearly the most ambitious of the three types, can be enormously satisfying…. Holmes remarks that illumination…comes from “above the skylight.” The skylight metaphor suggests a mind that lets light in, that is open to a world outside itself and is ready to learn and question. The very best papers are built on three-story theses. (Rosen and Behrens 86)

In the following examples of introductory paragraphs with three-story theses, note that every idea in the introduction builds to the thesis. Due to the complexity of three-story theses, three-story theses often are not restricted to a single sentence. Also note the use of conjunctive adverbs to signify the relationship between ideas (Common conjunctive adverbs: although , despite , however , nevertheless , and yet ).

Example 1: When Shakespeare’s speaker compares his lover to a summer’s day in sonnet 18, he privileges his lover’s eternal beauty over the transitory pleasures of a summer’s day. Yet although it initially seems that the lover's beauty will last forever, the speaker eventually reveals that only his own writing will stand the test of time. Acknowledging that only those stylized aspects of his lover’s beauty that can be captured in verse will survive, and not the natural beauty suggested by the summer’s day, the speaker suggests that he values his own poetic powers more than the actual beauties of his lover.

Example 2: The fact that in Marie de France’s poetry some adulterous characters are rewarded for their behavior, while others are punished, seems to imply the lack of a moral standard; it appears contradictory for Marie de France to condone in one poem the same behavior that she condemns in the next. However, these apparent discrepancies actually reveal the presence of a profound moral system, one that looks beyond the basic fact of adultery and takes into account the motivations behind it and the means by which it is carried out. Ultimately, Marie de France places a higher value on individual generosity and goodwill than on adherence to the Church's official rules of conduct.

A three-story thesis is not necessarily intuitive. It seems to say, “Yes, it appears this way, but it is also like that. This is what it means and/or why it is significant.” The three-story thesis is something that reasonable readers could disagree with—it takes some risks and conceivably could be disproven. Your challenge as writer is to construct an argument based on a close analysis of sources and evidence in order to persuade readers that your argument is valid. If you are successful, readers will have learned something new.

Getting from a one-story to a three-story thesis

Ask yourself questions. What is interesting about an idea? What is it related to? Why does it matter? Do the sources or other evidence endorse a particular viewpoint? What are the ramifications of this viewpoint? So what? Think about relationships between ideas.

Be specific. Pin down the parameters of the argument. If you are interested in how different authors view a particular issue, for example, which authors or works will you examine? How exactly do the authors’ views differ, and why ? And, most importantly, why does it matter that their views are different?

Be guided by evidence. Read source materials multiple times. Look for patterns, connections, and themes. Is your topic more complex than you first thought? You are not trying to create a tidy argument; your goal is to develop insight into how a text actually works, how authors think, how evidence connects, what limitations exist in other writers' ideas, and, finally, how to convey your insights to your readers.

Consider nuances. Make clear the nuances of your thinking. Show the specific logic of the relationships between ideas. Words commonly used to link related ideas include after, although, because, despite, if, in order to, once, since, unless, until, when, and while . Common qualifiers include frequently, likely, many, most, recent, some, usually, and probably.

Use readers: a classmate, writing tutor, trusted friend, or your professor. Find someone else to help you develop your thinking. Ask others to play devil's advocate. What are the limitations of your thinking? What are possible counter-arguments? Do you need more evidence to be convincing?

Additional examples of introductions with three-story theses

For classics 350.

In The Republic , Plato argues that poetry often corrupts both the individual and the city. Poetry that lies or imitates seems especially pernicious to the creation and preservation of the ideal state. Consequently, poetry should relate only truth and poets should compose only narrative poetry. For Plato, only true content and narrative form can encourage the construction and preservation of the polis . These restrictions assume, however, that poetry remains incapable of illuminating existence in a novel manner, that only philosophy can deepen our understanding of life. Plato, in this sense, establishes a hierarchy where philosophy becomes the highest vocation and poetry becomes a lowly and subservient art. This formulation however, seems misguided and detrimentally narrow. Wallace Stevens, in “homunculus et la Belle Etoile,” argues against Platonic restrictions on poetry. Indeed, Stevens suggests that the aesthetic nature of poetry offers an existential perspective absent in philosophy. Poetry, in this respect, illuminates rather than corrupts, and complements rather than challenges philosophical logic.

For History 390

The main theological, social, and political aspects of the early Christian church and society rested on the idea and value of the individual. While this ideal of individuality and equality seems at first liberal in essence, the early Christian church never progressed the idea past valuing the individual to valuing the individual above the common good. Where liberal individualism posits the superiority of the individual over the collective, early Christian individualism envisioned a world of individuals working towards God's common good. The early Christian church was, therefore, individualistic without being liberal, focused on the individual only as a means of glorifying God and advancing the kingdom of heaven on earth.

For Government 285

Claims that the American environmental movement undermines traditional democratic values are wrong. In fact, the movement emphasizes a commitment to compromise and a concern for the greater good that characterize the American democratic tradition. Critics argue that supporters of the environmental movement threaten fundamental constitutional rights. Critics also question environmentalists’ use of lobbying, arguing that these tactics result in disproportionate attention given to environmental concerns. While it is true that environmentalists often advocate the adoption of policies that may restrict individual behavior, they do so within legally sanctioned bounds, recognizing that they are but one player in the formulation of public policy. By advocating for more stringent environmental standards, supporters of the environmental movement seek to persuade the American population to look beyond individual desires and to consider the broader impact of individual decisions. In so doing, environmentalists exhibit values consistent with the American tradition of civic mindedness, in which collective interests, rather than individual desires, represent the highest priority.

Special thanks to Professor Katherine Terrell of the Hamilton College English Department for generously providing her class handout “Creating a Three-Story Thesis,” which forms the basis for this handout. Thanks also to Professor Doran Larson and the following spring 2009 writing tutors: Michael Harwick, Tom Lewek, Andrew Peart, and Rachel McReynolds.

Additional Sources:

Holmes, Oliver Wendell, Sr. The Poet At The Breakfast-Table . Boston: James R. Osgood and Company, 1872.

Rosen, Leonard J. and Laurence Behrens. The Allyn & Bacon Handbook . Boston: Allyn & Bacon, 1992.

Williams, Joseph, and Gregory Colomb. The Craft of Argument, Concise Edition. New York: Longman Press, 2002.

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Chapter 3: The Full Three Storey Thesis

Write Here, Right Now: An Interactive Introduction to Academic Writing and Research Copyright © 2018 by Ryerson University is licensed under a Creative Commons Attribution 4.0 International License , except where otherwise noted.

Think of yourself as a member of a jury, listening to a lawyer who is presenting an opening argument. You'll want to know very soon whether the lawyer believes the accused to be guilty or not guilty, and how the lawyer plans to convince you. Readers of academic essays are like jury members: before they have read too far, they want to know what the essay argues as well as how the writer plans to make the argument. After reading your thesis statement, the reader should think, "This essay is going to try to convince me of something. I'm not convinced yet, but I'm interested to see how I might be."

An effective thesis cannot be answered with a simple "yes" or "no." A thesis is not a topic; nor is it a fact; nor is it an opinion. "Reasons for the fall of communism" is a topic. "Communism collapsed in Eastern Europe" is a fact known by educated people. "The fall of communism is the best thing that ever happened in Europe" is an opinion. (Superlatives like "the best" almost always lead to trouble. It's impossible to weigh every "thing" that ever happened in Europe. And what about the fall of Hitler? Couldn't that be "the best thing"?)

A good thesis has two parts. It should tell what you plan to argue, and it should "telegraph" how you plan to argue—that is, what particular support for your claim is going where in your essay.

Steps in Constructing a Thesis

First, analyze your primary sources.  Look for tension, interest, ambiguity, controversy, and/or complication. Does the author contradict himself or herself? Is a point made and later reversed? What are the deeper implications of the author's argument? Figuring out the why to one or more of these questions, or to related questions, will put you on the path to developing a working thesis. (Without the why, you probably have only come up with an observation—that there are, for instance, many different metaphors in such-and-such a poem—which is not a thesis.)

Once you have a working thesis, write it down.  There is nothing as frustrating as hitting on a great idea for a thesis, then forgetting it when you lose concentration. And by writing down your thesis you will be forced to think of it clearly, logically, and concisely. You probably will not be able to write out a final-draft version of your thesis the first time you try, but you'll get yourself on the right track by writing down what you have.

Keep your thesis prominent in your introduction.  A good, standard place for your thesis statement is at the end of an introductory paragraph, especially in shorter (5-15 page) essays. Readers are used to finding theses there, so they automatically pay more attention when they read the last sentence of your introduction. Although this is not required in all academic essays, it is a good rule of thumb.

Anticipate the counterarguments.  Once you have a working thesis, you should think about what might be said against it. This will help you to refine your thesis, and it will also make you think of the arguments that you'll need to refute later on in your essay. (Every argument has a counterargument. If yours doesn't, then it's not an argument—it may be a fact, or an opinion, but it is not an argument.)

This statement is on its way to being a thesis. However, it is too easy to imagine possible counterarguments. For example, a political observer might believe that Dukakis lost because he suffered from a "soft-on-crime" image. If you complicate your thesis by anticipating the counterargument, you'll strengthen your argument, as shown in the sentence below.

Some Caveats and Some Examples

A thesis is never a question.  Readers of academic essays expect to have questions discussed, explored, or even answered. A question ("Why did communism collapse in Eastern Europe?") is not an argument, and without an argument, a thesis is dead in the water.

A thesis is never a list.  "For political, economic, social and cultural reasons, communism collapsed in Eastern Europe" does a good job of "telegraphing" the reader what to expect in the essay—a section about political reasons, a section about economic reasons, a section about social reasons, and a section about cultural reasons. However, political, economic, social and cultural reasons are pretty much the only possible reasons why communism could collapse. This sentence lacks tension and doesn't advance an argument. Everyone knows that politics, economics, and culture are important.

A thesis should never be vague, combative or confrontational.  An ineffective thesis would be, "Communism collapsed in Eastern Europe because communism is evil." This is hard to argue (evil from whose perspective? what does evil mean?) and it is likely to mark you as moralistic and judgmental rather than rational and thorough. It also may spark a defensive reaction from readers sympathetic to communism. If readers strongly disagree with you right off the bat, they may stop reading.

An effective thesis has a definable, arguable claim.  "While cultural forces contributed to the collapse of communism in Eastern Europe, the disintegration of economies played the key role in driving its decline" is an effective thesis sentence that "telegraphs," so that the reader expects the essay to have a section about cultural forces and another about the disintegration of economies. This thesis makes a definite, arguable claim: that the disintegration of economies played a more important role than cultural forces in defeating communism in Eastern Europe. The reader would react to this statement by thinking, "Perhaps what the author says is true, but I am not convinced. I want to read further to see how the author argues this claim."

A thesis should be as clear and specific as possible.  Avoid overused, general terms and abstractions. For example, "Communism collapsed in Eastern Europe because of the ruling elite's inability to address the economic concerns of the people" is more powerful than "Communism collapsed due to societal discontent."

Copyright 1999, Maxine Rodburg and The Tutors of the Writing Center at Harvard University

Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.

3 Constructing the Thesis and Argument—From the Ground Up

Moving beyond the five-paragraph theme.

As an instructor, I’ve noted that a number of new (and sometimes not-so-new) students are skilled wordsmiths and generally clear thinkers but are nevertheless stuck in a high-school style of writing. They struggle to let go of certain assumptions about how an academic paper should be . Chapter 1 points to the essay portion of the SAT as a representative artifact of the writing skills that K-12 education imparts. Some students who have mastered that form, and enjoyed a lot of success from doing so, assume that college writing is simply more of the same. The skills that go into a very basic kind of essay—often called the five-paragraph theme —are indispensable. If you’re good at the five-paragraph theme, then you’re good at identifying a clear and consistent thesis, arranging cohesive paragraphs, organizing evidence for key points, and situating an argument within a broader context through the intro and conclusion.

In college you need to build on those essential skills. The five-paragraph theme, as such, is bland and formulaic; it doesn’t compel deep thinking. Your professors are looking for a more ambitious and arguable thesis, a nuanced and compelling argument, and real-life evidence for all key points, all in an organically [1] structured paper.

Figures 3.1 and 3.2 contrast the standard five-paragraph theme and the organic college paper. The five-paragraph theme, outlined in Figure 3.1 is probably what you’re used to: the introductory paragraph starts broad and gradually narrows to a thesis, which readers expect to find at the very end of that paragraph. In this idealized format, the thesis invokes the magic number of three: three reasons why a statement is true. Each of those reasons is explained and justified in the three body paragraphs, and then the final paragraph restates the thesis before gradually getting broader. This format is easy for readers to follow, and it helps writers organize their points and the evidence that goes with them. That’s why you learned this format.

Figure 3.2, in contrast, represents a paper on the same topic that has the more organic form expected in college. The first key difference is the thesis. Rather than simply positing a number of reasons to think that something is true, it puts forward an arguable statement: one with which a reasonable person might disagree. An arguable thesis gives the paper purpose. It surprises readers and draws them in. You hope your reader thinks, “Huh. Why would they come to that conclusion?” and then feels compelled to read on. The body paragraphs, then, build on one another to carry out this ambitious argument. In the classic five-paragraph theme (Figure 3.1) it hardly matters which of the three reasons you explain first or second. In the more organic structure (Figure 3.2) each paragraph specifically leads to the next.

The last key difference is seen in the conclusion. Because the organic essay is driven by an ambitious, non-obvious argument, the reader comes to the concluding section thinking “OK, I’m convinced by the argument. What do you, author, make of it? Why does it matter?” The conclusion of an organically structured paper has a real job to do. It doesn’t just reiterate the thesis; it explains why the thesis matters.

The substantial time you spent mastering the five-paragraph form in Figure 3.1 was time well spent; it’s hard to imagine anyone succeeding with the more organic form without the organizational skills and habits of mind inherent in the simpler form. But if you assume that you must adhere rigidly to the simpler form, you’re blunting your intellectual ambition. Your professors will not be impressed by obvious theses, loosely related body paragraphs, and repetitive conclusions. They want you to undertake an ambitious independent analysis, one that will yield a thesis that is somewhat surprising and challenging to explain.

The three-story thesis: from the ground up

You have no doubt been drilled on the need for a thesis statement and its proper location at the end of the introduction. And you also know that all of the key points of the paper should clearly support the central driving thesis. Indeed, the whole model of the five-paragraph theme hinges on a clearly stated and consistent thesis. However, some students are surprised—and dismayed—when some of their early college papers are criticized for not having a good thesis. Their professor might even claim that the paper doesn’t have a thesis when, in the author’s view it clearly does. So, what makes a good thesis in college?

• A good thesis is non-obvious . High school teachers needed to make sure that you and all your classmates mastered the basic form of the academic essay. Thus, they were mostly concerned that you had a clear and consistent thesis, even if it was something obvious like “sustainability is important.” A thesis statement like that has a wide-enough scope to incorporate several supporting points and concurring evidence, enabling the writer to demonstrate his or her mastery of the five-paragraph form. Good enough! When they can, high school teachers nudge students to develop arguments that are less obvious and more engaging. College instructors, though, fully expect you to produce something more developed.
• A good thesis is arguable . In everyday life, “arguable” is often used as a synonym for “doubtful.” For a thesis, though, “arguable” means that it’s worth arguing: it’s something with which a reasonable person might disagree. This arguability criterion dovetails with the non-obvious one: it shows that the author has deeply explored a problem and arrived at an argument that legitimately needs 3, 5, 10, or 20 pages to explain and justify. In that way, a good thesis sets an ambitious agenda for a paper. A thesis like “sustainability is important” isn’t at all difficult to argue for, and the reader would have little intrinsic motivation to read the rest of the paper. However, an arguable thesis like “sustainability policies will inevitably fail if they do not incorporate social justice,” brings up some healthy skepticism. Thus, the arguable thesis makes the reader want to keep reading.
• A good thesis is well specified . Some student writers fear that they’re giving away the game if they specify their thesis up front; they think that a purposefully vague thesis might be more intriguing to the reader. However, consider movie trailers: they always include the most exciting and poignant moments from the film to attract an audience. In academic papers, too, a well specified thesis indicates that the author has thought rigorously about an issue and done thorough research, which makes the reader want to keep reading. Don’t just say that a particular policy is effective or fair; say what makes it is so. If you want to argue that a particular claim is dubious or incomplete, say why in your thesis.
• A good thesis includes implications . Suppose your assignment is to write a paper about some aspect of the history of linen production and trade, a topic that may seem exceedingly arcane. And suppose you have constructed a well supported and creative argument that linen was so widely traded in the ancient Mediterranean that it actually served as a kind of currency. [2] That’s a strong, insightful, arguable, well specified thesis. But which of these thesis statements do you find more engaging?

Linen served as a form of currency in the ancient Mediterranean world, connecting rival empires through circuits of trade.

Linen served as a form of currency in the ancient Mediterranean world, connecting rival empires through circuits of trade. The economic role of linen raises important questions about how shifting environmental conditions can influence economic relationships and, by extension, political conflicts.

Putting your claims in their broader context makes them more interesting to your reader and more impressive to your professors who, after all, assign topics that they think have enduring significance. Finding that significance for yourself makes the most of both your paper and your learning.

How do you produce a good, strong thesis? And how do you know when you’ve gotten there? Many instructors and writers find useful a metaphor based on this passage by Oliver Wendell Holmes Sr.: [3]

There are one-story intellects, two-story intellects, and three-story intellects with skylights. All fact collectors who have no aim beyond their facts are one-story men. Two-story men compare, reason, generalize using the labor of fact collectors as their own. Three-story men idealize, imagine, predict—their best illumination comes from above the skylight.

One-story theses state inarguable facts. Two-story theses bring in an arguable (interpretive or analytical) point. Three-story theses nest that point within its larger, compelling implications. [4]

The biggest benefit of the three-story metaphor is that it describes a process for building a thesis. To build the first story, you first have to get familiar with the complex, relevant facts surrounding the problem or question. You have to be able to describe the situation thoroughly and accurately. Then, with that first story built, you can layer on the second story by formulating the insightful, arguable point that animates the analysis. That’s often the most effortful part: brainstorming, elaborating and comparing alternative ideas, finalizing your point. With that specified, you can frame up the third story by articulating why the point you make matters beyond its particular topic or case.

Thesis: that’s the word that pops at me whenever I write an essay. Seeing this word in the prompt scared me and made me think to myself, “Oh great, what are they really looking for?” or “How am I going to make a thesis for a college paper?” When rehearing that I would be focusing on theses again in a class, I said to myself, “Here we go again!” But after learning about the three story thesis, I never had a problem with writing another thesis. In fact, I look forward to being asked on a paper to create a thesis.

Timothée Pizarro

For example, imagine you have been assigned a paper about the impact of online learning in higher education. You would first construct an account of the origins and multiple forms of online learning and assess research findings about its use and effectiveness. If you’ve done that well, you’ll probably come up with a well considered opinion that wouldn’t be obvious to readers who haven’t looked at the issue in depth. Maybe you’ll want to argue that online learning is a threat to the academic community. Or perhaps you’ll want to make the case that online learning opens up pathways to college degrees that traditional campus-based learning does not. In the course of developing your central, argumentative point, you’ll come to recognize its larger context; in this example, you may claim that online learning can serve to better integrate higher education with the rest of society, as online learners bring their educational and career experiences together. To outline this example:

• First story : Online learning is becoming more prevalent and takes many different forms.
• Second story : While most observers see it as a transformation of higher education, online learning is better thought of an extension of higher education in that it reaches learners who aren’t disposed to participate in traditional campus-based education.
• Third story : Online learning appears to be a promising way to better integrate higher education with other institutions in society, as online learners integrate their educational experiences with the other realms of their life, promoting the freer flow of ideas between the academy and the rest of society.

Here’s another example of a three-story thesis: [5]

• First story : Edith Wharton did not consider herself a modernist writer, and she didn’t write like her modernist contemporaries.
• Second story : However, in her work we can see her grappling with both the questions and literary forms that fascinated modernist writers of her era. While not an avowed modernist, she did engage with modernist themes and questions.
• Third story : Thus, it is more revealing to think of modernism as a conversation rather than a category or practice.

Here’s one more example:

• First story : Scientists disagree about the likely impact in the U.S. of the light brown apple moth (LBAM) , an agricultural pest native to Australia.
• Second story : Research findings to date suggest that the decision to spray pheromones over the skies of several southern Californian counties to combat the LBAM was poorly thought out.
• Third story : Together, the scientific ambiguities and the controversial response strengthen the claim that industrial-style approaches to pest management are inherently unsustainable.

A thesis statement that stops at the first story isn’t usually considered a thesis. A two-story thesis is usually considered competent, though some two-story theses are more intriguing and ambitious than others. A thoughtfully crafted and well informed three-story thesis puts the author on a smooth path toward an excellent paper.

The concept of a three-story thesis framework was the most helpful piece of information I gained from the writing component of DCC 100. The first time I utilized it in a college paper, my professor included “good thesis” and “excellent introduction” in her notes and graded it significantly higher than my previous papers. You can expect similar results if you dig deeper to form three-story theses. More importantly, doing so will make the actual writing of your paper more straightforward as well. Arguing something specific makes the structure of your paper much easier to design.

Peter Farrell

Three-story theses and the organically structured argument

The three-story thesis is a beautiful thing. For one, it gives a paper authentic momentum. The first paragraph doesn’t just start with some broad, vague statement; every sentence is crucial for setting up the thesis. The body paragraphs build on one another, moving through each step of the logical chain. Each paragraph leads inevitably to the next, making the transitions from paragraph to paragraph feel wholly natural. The conclusion, instead of being a mirror-image paraphrase of the introduction, builds out the third story by explaining the broader implications of the argument. It offers new insight without departing from the flow of the analysis.

I should note here that a paper with this kind of momentum often reads like it was knocked out in one inspired sitting. But in reality, just like accomplished athletes and artists, masterful writers make the difficult thing look easy. As writer Anne Lamott notes, reading a well written piece feels like its author sat down and typed it out, “bounding along like huskies across the snow.” However, she continues,

This is just the fantasy of the uninitiated. I know some very great writers, writers you love who write beautifully and have made a great deal of money, and not one of them sits down routinely feeling wildly enthusiastic and confident. Not one of them writes elegant first drafts. All right, one of them does, but we do not like her very much. [6]

Experienced writers don’t figure out what they want to say and then write it. They write in order to figure out what they want to say.

Experienced writers develop theses in dialog with the body of the essay. An initial characterization of the problem leads to a tentative thesis, and then drafting the body of the paper reveals thorny contradictions or critical areas of ambiguity, prompting the writer to revisit or expand the body of evidence and then refine the thesis based on that fresh look. The revised thesis may require that body paragraphs be reordered and reshaped to fit the emerging three-story thesis. Throughout the process, the thesis serves as an anchor point while the author wades through the morass of facts and ideas. The dialogue between thesis and body continues until the author is satisfied or the due date arrives, whatever comes first. It’s an effortful and sometimes tedious process. Novice writers, in contrast, usually oversimplify the writing process. They formulate some first-impression thesis, produce a reasonably organized outline, and then flesh it out with text, never taking the time to reflect or truly revise their work. They assume that revision is a step backward when, in reality, it is a major step forward.

Everyone has a different way that they like to write. For instance, I like to pop my earbuds in, blast dubstep music and write on a white board. I like using the white board because it is a lot easier to revise and edit while you write. After I finish writing a paragraph that I am completely satisfied with on the white board, I sit in front of it with my laptop and just type it up.

Kaethe Leonard

Another benefit of the three-story thesis framework is that it demystifies what a “strong” argument is in academic culture. In an era of political polarization, many students may think that a strong argument is based on a simple, bold, combative statement that is promoted it in the most forceful way possible. “Gun control is a travesty!” “Shakespeare is the best writer who ever lived!” When students are encouraged to consider contrasting perspectives in their papers, they fear that doing so will make their own thesis seem mushy and weak. However, in academics a “strong” argument is comprehensive and nuanced, not simple and polemical. The purpose of the argument is to explain to readers why the author—through the course of his or her in-depth study—has arrived at a somewhat surprising point. On that basis, it has to consider plausible counter-arguments and contradictory information. Academic argumentation exemplifies the popular adage about all writing: show, don’t tell. In crafting and carrying out the three-story thesis, you are showing your reader the work you have done.

The model of the organically structured paper and the three-story thesis framework explained here is the very foundation of the paper itself and the process that produces it. The subsequent chapters, focusing on sources, paragraphs, and sentence-level wordsmithing, all follow from the notion that you are writing to think and writing to learn as much as you are writing to communicate. Your professors assume that you have the self-motivation and organizational skills to pursue your analysis with both rigor and flexibility; that is, they envision you developing, testing, refining and sometimes discarding your own ideas based on a clear-eyed and open-minded assessment of the evidence before you.

Other resources

• The Writing Center at the University of North Carolina at Chapel Hill offers an excellent, readable run-down on the five-paragraph theme, why most college writing assignments want you to go beyond it, and those times when the simpler structure is actually a better choice.
• There are many useful websites that describe good thesis statements and provide examples. Those from the writing centers at Hamilton College , Purdue University , and Clarkson University are especially helpful.
• Find a scholarly article or book that is interesting to you. Focusing on the abstract and introduction, outline the first, second, and third stories of its thesis.
• Television programming includes content that some find objectionable.
• The percent of children and youth who are overweight or obese has risen in recent decades.
• First-year college students must learn how to independently manage their time.
• The things we surround ourselves with symbolize who we are.
• Find an example of a five-paragraph theme (online essay mills, your own high school work), produce an alternative three-story thesis, and outline an organically structured paper to carry that thesis out.
• “Organic” here doesn’t mean “pesticide-free” or containing carbon; it means the paper grows and develops, sort of like a living thing. ↵
• For more see Fabio Lopez-Lazaro “Linen.” In Encyclopedia of World Trade from Ancient Times to the Present . Armonk: M.E. Sharpe, 2005. ↵
• Oliver Wendell Holmes Sr., The Poet at the Breakfast Table (New York: Houghton & Mifflin, 1892). ↵
• The metaphor is extraordinarily useful even though the passage is annoying. Beyond the sexist language of the time, I don’t appreciate the condescension toward “fact-collectors.” which reflects a general modernist tendency to elevate the abstract and denigrate the concrete. In reality, data-collection is a creative and demanding craft, arguably more important than theorizing. ↵
• Drawn from Jennifer Haytock, Edith Wharton and the Conversations of Literary Modernism (New York: Palgrave-MacMillan, 2008). ↵
• Anne Lamott, Bird by Bird: Some Instructions on Writing and Life (New York: Pantheon, 1994), 21. ↵

Writing in College Copyright © 2016 by Amy Guptill is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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UMGC Effective Writing Center Designing an Effective Thesis

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Key Concepts

• A thesis is a simple sentence that combines your topic and your position on the topic.
• A thesis provides a roadmap to what follows in the paper.
• A thesis is like a wheel's hub--everything revolves around it and is attached to it.

After your prewriting activities-- such as assignment analysis and outlining--you should be ready to take the next step: writing a thesis statement. Although some of your assignments will provide a focus for you, it is still important for your college career and especially for your professional career to be able to state a satisfactory controlling idea or thesis that unifies your thoughts and materials for the reader.

Characteristics of an Effective Thesis

A thesis consists of two main parts: your overall topic and your position on that topic. Here are some example thesis statements that combine topic and position:

Sample Thesis Statements

Importance of tone.

Tone is established in the wording of your thesis, which should match the characteristics of your audience. For example, if you are a concerned citizen proposing a new law to your city's board of supervisors about drunk driving, you would not want to write this:

“It’s time to get the filthy drunks off the street and from behind the wheel: I demand that you pass a mandatory five-year license suspension for every drunk who gets caught driving. Do unto them before they do unto us!”

However, if you’re speaking at a concerned citizen’s meeting and you’re trying to rally voter support, such emotional language could help motivate your audience.

Using Your Thesis to Map Your Paper for the Reader

In academic writing, the thesis statement is often used to signal the paper's overall structure to the reader. An effective thesis allows the reader to predict what will be encountered in the support paragraphs. Here are some examples:

Use the Thesis to Map

Three potential problems to avoid.

Because your thesis is the hub of your essay, it has to be strong and effective. Here are three common pitfalls to avoid:

1. Don’t confuse an announcement with a thesis.

In an announcement, the writer declares personal intentions about the paper instead stating a thesis with clear point of view or position:

Write a Thesis, Not an Announcement

 2. a statement of fact does not provide a point of view and is not a thesis..

An introduction needs a strong, clear position statement. Without one, it will be hard for you to develop your paper with relevant arguments and evidence.

Don't Confuse a Fact with a Thesis

3. avoid overly broad thesis statements.

Broad statements contain vague, general terms that do not provide a clear focus for the essay.

Use the Thesis to Provide Focus

Practice writing an effective thesis.

OK. Time to write a thesis for your paper. What is your topic? What is your position on that topic? State both clearly in a thesis sentence that helps to map your response for the reader.

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Tips and Examples for Writing Thesis Statements

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Tips for Writing Your Thesis Statement

1. Determine what kind of paper you are writing:

• An analytical paper breaks down an issue or an idea into its component parts, evaluates the issue or idea, and presents this breakdown and evaluation to the audience.
• An expository (explanatory) paper explains something to the audience.
• An argumentative paper makes a claim about a topic and justifies this claim with specific evidence. The claim could be an opinion, a policy proposal, an evaluation, a cause-and-effect statement, or an interpretation. The goal of the argumentative paper is to convince the audience that the claim is true based on the evidence provided.

If you are writing a text that does not fall under these three categories (e.g., a narrative), a thesis statement somewhere in the first paragraph could still be helpful to your reader.

2. Your thesis statement should be specific—it should cover only what you will discuss in your paper and should be supported with specific evidence.

3. The thesis statement usually appears at the end of the first paragraph of a paper.

4. Your topic may change as you write, so you may need to revise your thesis statement to reflect exactly what you have discussed in the paper.

Thesis Statement Examples

Example of an analytical thesis statement:

The paper that follows should:

• Explain the analysis of the college admission process
• Explain the challenge facing admissions counselors

Example of an expository (explanatory) thesis statement:

• Explain how students spend their time studying, attending class, and socializing with peers

Example of an argumentative thesis statement:

• Present an argument and give evidence to support the claim that students should pursue community projects before entering college

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We provide free, individualized feedback on any kind of writing to current USC students, faculty, and staff. We can help with everything from essays to cover letters to scholarship applications. Click any link below to get started.

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Another “meanwhile”: The story here also serves as a meditation on the power of books. While Edgar Lee Masters’s 1915 poetry collection “Spoon River Anthology” plays a prominent role, works from J.D. Salinger, F. Scott Fitzgerald and William Butler Yeats to Zadie Smith and Maya Angelou underpin and suffuse every chapter.

“Harriet had always considered Angelou a tad pious,” Wood notes — a pot-calling-kettle moment that made me chortle, as “How to Read a Book” nudges the conscience as much as it pulls at the heartstrings. But it is also generously seasoned with unexpected twists and a wonderful wit. It’s never saccharine. In book clubs and in life, sometimes you just need a break from the sense of gritty hopelessness. This novel is a reminder that goodness, and books, can still win in this world.

HOW TO READ A BOOK | By Monica Wood | Mariner Books | 288 pp. | $28

Explore More in Books

Want to know about the best books to read and the latest news start here..

As book bans have surged in Florida, the novelist Lauren Groff has opened a bookstore called The Lynx, a hub for author readings, book club gatherings and workshops , where banned titles are prominently displayed.

Eighteen books were recognized as winners or finalists for the Pulitzer Prize, in the categories of history, memoir, poetry, general nonfiction, fiction and biography, which had two winners. Here’s a full list of the winners .

Montreal is a city as appealing for its beauty as for its shadows. Here, t he novelist Mona Awad recommends books  that are “both dreamy and uncompromising.”

The complicated, generous life  of Paul Auster, who died on April 30 , yielded a body of work of staggering scope and variety .

Each week, top authors and critics join the Book Review’s podcast to talk about the latest news in the literary world. Listen here .

Writing Process Basics: Thesis Statements

Constructing the thesis and argument—from the ground up, moving beyond the five-paragraph theme.

As an instructor, I’ve noted that a number of new (and sometimes not-so-new) students are skilled wordsmiths and generally clear thinkers but are nevertheless stuck in a high-school style of writing. They struggle to let go of certain assumptions about how an academic paper should be . Chapter 1 points to the essay portion of the SAT as a representative artifact of the writing skills that K-12 education imparts. Some students who have mastered that form, and enjoyed a lot of success from doing so, assume that college writing is simply more of the same. The skills that go into a very basic kind of essay—often called the five-paragraph theme —are indispensable. If you’re good at the five-paragraph theme, then you’re good at identifying a clear and consistent thesis, arranging cohesive paragraphs, organizing evidence for key points, and situating an argument within a broader context through the intro and conclusion.

In college you need to build on those essential skills. The five-paragraph theme, as such, is bland and formulaic; it doesn’t compel deep thinking. Your professors are looking for a more ambitious and arguable thesis, a nuanced and compelling argument, and real-life evidence for all key points, all in an organically 1 structured paper.

Figures 3.1 and 3.2 contrast the standard five-paragraph theme and the organic college paper. The five-paragraph theme, outlined in Figure 3.1 is probably what you’re used to: the introductory paragraph starts broad and gradually narrows to a thesis, which readers expect to find at the very end of that paragraph. In this idealized format, the thesis invokes the magic number of three: three reasons why a statement is true. Each of those reasons is explained and justified in the three body paragraphs, and then the final paragraph restates the thesis before gradually getting broader. This format is easy for readers to follow, and it helps writers organize their points and the evidence that goes with them. That’s why you learned this format.

Figure 3.2, in contrast, represents a paper on the same topic that has the more organic form expected in college. The first key difference is the thesis. Rather than simply positing a number of reasons to think that something is true, it puts forward an arguable statement: one with which a reasonable person might disagree. An arguable thesis gives the paper purpose. It surprises readers and draws them in. You hope your reader thinks, “Huh. Why would they come to that conclusion?” and then feels compelled to read on. The body paragraphs, then, build on one another to carry out this ambitious argument. In the classic five-paragraph theme (Figure 3.1) it hardly matters which of the three reasons you explain first or second. In the more organic structure (Figure 3.2) each paragraph specifically leads to the next.

Figure 3.1, The five-paragraph “theme”

The last key difference is seen in the conclusion. Because the organic essay is driven by an ambitious, non-obvious argument, the reader comes to the concluding section thinking “OK, I’m convinced by the argument. What do you, author, make of it? Why does it matter?” The conclusion of an organically structured paper has a real job to do. It doesn’t just reiterate the thesis; it explains why the thesis matters.

Figure 3.2, The organic college paper

The substantial time you spent mastering the five-paragraph form in Figure 3.1 was time well spent; it’s hard to imagine anyone succeeding with the more organic form without the organizational skills and habits of mind inherent in the simpler form. But if you assume that you must adhere rigidly to the simpler form, you’re blunting your intellectual ambition. Your professors will not be impressed by obvious theses, loosely related body paragraphs, and repetitive conclusions. They want you to undertake an ambitious independent analysis, one that will yield a thesis that is somewhat surprising and challenging to explain.

The three-story thesis: from the ground up

You have no doubt been drilled on the need for a thesis statement and its proper location at the end of the introduction. And you also know that all of the key points of the paper should clearly support the central driving thesis. Indeed, the whole model of the five-paragraph theme hinges on a clearly stated and consistent thesis. However, some students are surprised—and dismayed—when some of their early college papers are criticized for not having a good thesis. Their professor might even claim that the paper doesn’t have a thesis when, in the author’s view it clearly does. So, what makes a good thesis in college?

• A good thesis is non-obvious . High school teachers needed to make sure that you and all your classmates mastered the basic form of the academic essay. Thus, they were mostly concerned that you had a clear and consistent thesis, even if it was something obvious like “sustainability is important.” A thesis statement like that has a wide-enough scope to incorporate several supporting points and concurring evidence, enabling the writer to demonstrate his or her mastery of the five-paragraph form. Good enough! When they can, high school teachers nudge students to develop arguments that are less obvious and more engaging. College instructors, though, fully expect you to produce something more developed.
• A good thesis is arguable . In everyday life, “arguable” is often used as a synonym for “doubtful.” For a thesis, though, “arguable” means that it’s worth arguing: it’s something with which a reasonable person might disagree. This arguability criterion dovetails with the non-obvious one: it shows that the author has deeply explored a problem and arrived at an argument that legitimately needs 3, 5, 10, or 20 pages to explain and justify. In that way, a good thesis sets an ambitious agenda for a paper. A thesis like “sustainability is important” isn’t at all difficult to argue for, and the reader would have little intrinsic motivation to read the rest of the paper. However, an arguable thesis like “sustainability policies will inevitably fail if they do not incorporate social justice,” brings up some healthy skepticism. Thus, the arguable thesis makes the reader want to keep reading.
• A good thesis is well specified . Some student writers fear that they’re giving away the game if they specify their thesis up front; they think that a purposefully vague thesis might be more intriguing to the reader. However, consider movie trailers: they always include the most exciting and poignant moments from the film to attract an audience. In academic papers, too, a well specified thesis indicates that the author has thought rigorously about an issue and done thorough research, which makes the reader want to keep reading. Don’t just say that a particular policy is effective or fair; say what makes it is so. If you want to argue that a particular claim is dubious or incomplete, say why in your thesis.
• A good thesis includes implications . Suppose your assignment is to write a paper about some aspect of the history of linen production and trade, a topic that may seem exceedingly arcane. And suppose you have constructed a well supported and creative argument that linen was so widely traded in the ancient Mediterranean that it actually served as a kind of currency. 2 That’s a strong, insightful, arguable, well specified thesis. But which of these thesis statements do you find more engaging?

Linen served as a form of currency in the ancient Mediterranean world, connecting rival empires through circuits of trade.

Linen served as a form of currency in the ancient Mediterranean world, connecting rival empires through circuits of trade. The economic role of linen raises important questions about how shifting environmental conditions can influence economic relationships and, by extension, political conflicts.

Putting your claims in their broader context makes them more interesting to your reader and more impressive to your professors who, after all, assign topics that they think have enduring significance. Finding that significance for yourself makes the most of both your paper and your learning.

How do you produce a good, strong thesis? And how do you know when you’ve gotten there? Many instructors and writers find useful a metaphor based on this passage by Oliver Wendell Holmes Sr.: 3

There are one-story intellects, two-story intellects, and three-story intellects with skylights. All fact collectors who have no aim beyond their facts are one-story men. Two-story men compare, reason, generalize using the labor of fact collectors as their own. Three-story men idealize, imagine, predict—their best illumination comes from above the skylight.

One-story theses state inarguable facts. Two-story theses bring in an arguable (interpretive or analytical) point. Three-story theses nest that point within its larger, compelling implications. 4

The biggest benefit of the three-story metaphor is that it describes a process for building a thesis. To build the first story, you first have to get familiar with the complex, relevant facts surrounding the problem or question. You have to be able to describe the situation thoroughly and accurately. Then, with that first story built, you can layer on the second story by formulating the insightful, arguable point that animates the analysis. That’s often the most effortful part: brainstorming, elaborating and comparing alternative ideas, finalizing your point. With that specified, you can frame up the third story by articulating why the point you make matters beyond its particular topic or case.

Thesis: that’s the word that pops at me whenever I write an essay. Seeing this word in the prompt scared me and made me think to myself, “Oh great, what are they really looking for?” or “How am I going to make a thesis for a college paper?” When rehearing that I would be focusing on theses again in a class, I said to myself, “Here we go again!” But after learning about the three story thesis, I never had a problem with writing another thesis. In fact, I look forward to being asked on a paper to create a thesis.

Timothée Pizarro

For example, imagine you have been assigned a paper about the impact of online learning in higher education. You would first construct an account of the origins and multiple forms of online learning and assess research findings about its use and effectiveness. If you’ve done that well, you’ll probably come up with a well considered opinion that wouldn’t be obvious to readers who haven’t looked at the issue in depth. Maybe you’ll want to argue that online learning is a threat to the academic community. Or perhaps you’ll want to make the case that online learning opens up pathways to college degrees that traditional campus-based learning does not. In the course of developing your central, argumentative point, you’ll come to recognize its larger context; in this example, you may claim that online learning can serve to better integrate higher education with the rest of society, as online learners bring their educational and career experiences together. To outline this example:

• First story : Online learning is becoming more prevalent and takes many different forms.
• Second story : While most observers see it as a transformation of higher education, online learning is better thought of an extension of higher education in that it reaches learners who aren’t disposed to participate in traditional campus-based education.
• Third story : Online learning appears to be a promising way to better integrate higher education with other institutions in society, as online learners integrate their educational experiences with the other realms of their life, promoting the freer flow of ideas between the academy and the rest of society.

Here’s another example of a three-story thesis: 5

• First story : Edith Wharton did not consider herself a modernist writer, and she didn’t write like her modernist contemporaries.
• Second story : However, in her work we can see her grappling with both the questions and literary forms that fascinated modernist writers of her era. While not an avowed modernist, she did engage with modernist themes and questions.
• Third story : Thus, it is more revealing to think of modernism as a conversation rather than a category or practice.

Here’s one more example:

• First story : Scientists disagree about the likely impact in the U.S. of the light brown apple moth (LBAM) , an agricultural pest native to Australia.
• Second story : Research findings to date suggest that the decision to spray pheromones over the skies of several southern Californian counties to combat the LBAM was poorly thought out.
• Third story : Together, the scientific ambiguities and the controversial response strengthen the claim that industrial-style approaches to pest management are inherently unsustainable.

A thesis statement that stops at the first story isn’t usually considered a thesis. A two-story thesis is usually considered competent, though some two-story theses are more intriguing and ambitious than others. A thoughtfully crafted and well informed three-story thesis puts the author on a smooth path toward an excellent paper.

The concept of a three-story thesis framework was the most helpful piece of information I gained from the writing component of DCC 100. The first time I utilized it in a college paper, my professor included “good thesis” and “excellent introduction” in her notes and graded it significantly higher than my previous papers. You can expect similar results if you dig deeper to form three-story theses. More importantly, doing so will make the actual writing of your paper more straightforward as well. Arguing something specific makes the structure of your paper much easier to design.

Peter Farrell

Three-story theses and the organically structured argument

The three-story thesis is a beautiful thing. For one, it gives a paper authentic momentum. The first paragraph doesn’t just start with some broad, vague statement; every sentence is crucial for setting up the thesis. The body paragraphs build on one another, moving through each step of the logical chain. Each paragraph leads inevitably to the next, making the transitions from paragraph to paragraph feel wholly natural. The conclusion, instead of being a mirror-image paraphrase of the introduction, builds out the third story by explaining the broader implications of the argument. It offers new insight without departing from the flow of the analysis.

I should note here that a paper with this kind of momentum often reads like it was knocked out in one inspired sitting. But in reality, just like accomplished athletes and artists, masterful writers make the difficult thing look easy. As writer Anne Lamott notes, reading a well written piece feels like its author sat down and typed it out, “bounding along like huskies across the snow.” However, she continues,

This is just the fantasy of the uninitiated. I know some very great writers, writers you love who write beautifully and have made a great deal of money, and not one of them sits down routinely feeling wildly enthusiastic and confident. Not one of them writes elegant first drafts. All right, one of them does, but we do not like her very much. 6

Experienced writers don’t figure out what they want to say and then write it. They write in order to figure out what they want to say.

Experienced writers develop theses in dialog with the body of the essay. An initial characterization of the problem leads to a tentative thesis, and then drafting the body of the paper reveals thorny contradictions or critical areas of ambiguity, prompting the writer to revisit or expand the body of evidence and then refine the thesis based on that fresh look. The revised thesis may require that body paragraphs be reordered and reshaped to fit the emerging three-story thesis. Throughout the process, the thesis serves as an anchor point while the author wades through the morass of facts and ideas. The dialogue between thesis and body continues until the author is satisfied or the due date arrives, whatever comes first. It’s an effortful and sometimes tedious process. Novice writers, in contrast, usually oversimplify the writing process. They formulate some first-impression thesis, produce a reasonably organized outline, and then flesh it out with text, never taking the time to reflect or truly revise their work. They assume that revision is a step backward when, in reality, it is a major step forward.

Everyone has a different way that they like to write. For instance, I like to pop my earbuds in, blast dubstep music and write on a white board. I like using the white board because it is a lot easier to revise and edit while you write. After I finish writing a paragraph that I am completely satisfied with on the white board, I sit in front of it with my laptop and just type it up. Kaethe Leonard

Another benefit of the three-story thesis framework is that it demystifies what a “strong” argument is in academic culture. In an era of political polarization, many students may think that a strong argument is based on a simple, bold, combative statement that is promoted it in the most forceful way possible. “Gun control is a travesty!” “Shakespeare is the best writer who ever lived!” When students are encouraged to consider contrasting perspectives in their papers, they fear that doing so will make their own thesis seem mushy and weak. However, in academics a “strong” argument is comprehensive and nuanced, not simple and polemical. The purpose of the argument is to explain to readers why the author—through the course of his or her in-depth study—has arrived at a somewhat surprising point. On that basis, it has to consider plausible counter-arguments and contradictory information. Academic argumentation exemplifies the popular adage about all writing: show, don’t tell. In crafting and carrying out the three-story thesis, you are showing your reader the work you have done.

The model of the organically structured paper and the three-story thesis framework explained here is the very foundation of the paper itself and the process that produces it. The subsequent chapters, focusing on sources, paragraphs, and sentence-level wordsmithing, all follow from the notion that you are writing to think and writing to learn as much as you are writing to communicate. Your professors assume that you have the self-motivation and organizational skills to pursue your analysis with both rigor and flexibility; that is, they envision you developing, testing, refining and sometimes discarding your own ideas based on a clear-eyed and open-minded assessment of the evidence before you.

Other resources

• The Writing Center at the University of North Carolina at Chapel Hill offers an excellent, readable run-down on the five-paragraph theme, why most college writing assignments want you to go beyond it, and those times when the simpler structure is actually a better choice.
• There are many useful websites that describe good thesis statements and provide examples. Those from the writing centers at Hamilton College , Purdue University , and Clarkson University are especially helpful.
• Find a scholarly article or book that is interesting to you. Focusing on the abstract and introduction, outline the first, second, and third stories of its thesis.
• Here is a list of one-story theses. Come up with two-story and three-story versions of each one.A. Television programming includes content that some find objectionable.B. The percent of children and youth who are overweight or obese has risen in recent decades.C. First-year college students must learn how to independently manage their time.D. The things we surround ourselves with symbolize who we are.
• Find an example of a five-paragraph theme (online essay mills, your own high school work), produce an alternative three-story thesis, and outline an organically structured paper to carry that thesis out.
• Go to the SAT website about the essay exam , choose one of the highly rated sample essays. In structure, how does it compare to the five-paragraph theme? How does it compare to the organic college essay? Use the SAT essay example you found to create alternative examples for Figures 3.1 and 3.2.

1 “Organic” here doesn’t mean “pesticide-free” or containing carbon; it means the paper grows and develops, sort of like a living thing.

2 For more see Fabio Lopez-Lazaro “Linen.” In Encyclopedia of World Trade from Ancient Times to the Present . Armonk: M.E. Sharpe, 2005 .

3 Oliver Wendell Holmes Sr., The Poet at the Breakfast Table (New York: Houghton & Mifflin, 1892),

4 The metaphor is extraordinarily useful even though the passage is annoying. Beyond the sexist language of the time, I don’t appreciate the condescension toward “fact-collectors.” which reflects a general modernist tendency to elevate the abstract and denigrate the concrete. In reality, data-collection is a creative and demanding craft, arguably more important than theorizing.

5 Drawn from Jennifer Haytock, Edith Wharton and the Conversations of Literary Modernism (New York: Palgrave-MacMillan, 2008).

6 Anne Lamott, Bird by Bird: Some Instructions on Writing and Life (New York: Pantheon, 1994) , 21.

• Writing in College: From Competence to Excellence. Authored by : Amy Guptill. Provided by : The College of Brockport, SUNY. Located at : http://textbooks.opensuny.org/writing-in-college-from-competence-to-excellence/ . Project : Open SUNY Textbooks. License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike

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7.2: The Three-story Thesis: From the Ground Up

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• Amy Guptill
• The College at Brockport, SUNY

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You have no doubt been drilled on the need for a thesis statement and its proper location at the end of the introduction. And you also know that all of the key points of the paper should clearly support the central driving thesis. Indeed, the whole model of the five-paragraph theme hinges on a clearly stated and consistent thesis. However, some students are surprised—and dismayed—when some of their early college papers are criticized for not having a good thesis. Their professor might even claim that the paper doesn’t have a thesis when, in the author’s view it clearly does. So, what makes a good thesis in college?

• A good thesis is non-obvious . High school teachers needed to make sure that you and all your classmates mastered the basic form of the academic essay. Thus, they were mostly concerned that you had a clear and consistent thesis, even if it was something obvious like “sustainability is important.” A thesis statement like that has a wide-enough scope to incorporate several supporting points and concurring evidence, enabling the writer to demonstrate his or her mastery of the five-paragraph form. Good enough! When they can, high school teachers nudge students to develop arguments that are less obvious and more engaging. College instructors, though, fully expect you to produce something more developed.
• A good thesis is arguable . In everyday life, “arguable” is often used as a synonym for “doubtful.” For a thesis, though, “arguable” means that it’s worth arguing: it’s something with which a reasonable person might disagree. This arguability criterion dovetails with the non-obvious one: it shows that the author has deeply explored a problem and arrived at an argument that legitimately needs 3, 5, 10, or 20 pages to explain and justify. In that way, a good thesis sets an ambitious agenda for a paper. A thesis like “sustainability is important” isn’t at all difficult to argue for, and the reader would have little intrinsic motivation to read the rest of the paper. However, an arguable thesis like “sustainability policies will inevitably fail if they do not incorporate social justice,” brings up some healthy skepticism. Thus, the arguable thesis makes the reader want to keep reading.
• A good thesis is well specified . Some student writers fear that they’re giving away the game if they specify their thesis up front; they think that a purposefully vague thesis might be more intriguing to the reader. However, consider movie trailers: they always include the most exciting and poignant moments from the film to attract an audience. In academic papers, too, a well specified thesis indicates that the author has thought rigorously about an issue and done thorough research, which makes the reader want to keep reading. Don’t just say that a particular policy is effective or fair; say what makes it is so. If you want to argue that a particular claim is dubious or incomplete, say why in your thesis.
• A good thesis includes implications . Suppose your assignment is to write a paper about some aspect of the history of linen production and trade, a topic that may seem exceedingly arcane. And suppose you have constructed a well supported and creative argument that linen was so widely traded in the ancient Mediterranean that it actually served as a kind of currency. 2 That’s a strong, insightful, arguable, well specified thesis. But which of these thesis statements do you find more engaging?

Linen served as a form of currency in the ancient Mediterranean world, connecting rival empires through circuits of trade.

Linen served as a form of currency in the ancient Mediterranean world, connecting rival empires through circuits of trade. The economic role of linen raises important questions about how shifting environmental conditions can influence economic relationships and, by extension, political conflicts.

Putting your claims in their broader context makes them more interesting to your reader and more impressive to your professors who, after all, assign topics that they think have enduring significance. Finding that significance for yourself makes the most of both your paper and your learning.

How do you produce a good, strong thesis? And how do you know when you’ve gotten there? Many instructors and writers find useful a metaphor based on this passage by Oliver Wendell Holmes Sr.: 3

There are one-story intellects, two-story intellects, and three-story intellects with skylights. All fact collectors who have no aim beyond their facts are one-story men. Two-story men compare, reason, generalize using the labor of fact collectors as their own. Three-story men idealize, imagine, predict—their best illumination comes from above the skylight.

One-story theses state inarguable facts. Two-story theses bring in an arguable (interpretive or analytical) point. Three-story theses nest that point within its larger, compelling implications. 4

The biggest benefit of the three-story metaphor is that it describes a process for building a thesis. To build the first story, you first have to get familiar with the complex, relevant facts surrounding the problem or question. You have to be able to describe the situation thoroughly and accurately. Then, with that first story built, you can layer on the second story by formulating the insightful, arguable point that animates the analysis. That’s often the most effortful part: brainstorming, elaborating and comparing alternative ideas, finalizing your point. With that specified, you can frame up the third story by articulating why the point you make matters beyond its particular topic or case.

Thesis: that’s the word that pops at me whenever I write an essay. Seeing this word in the prompt scared me and made me think to myself, “Oh great, what are they really looking for?” or “How am I going to make a thesis for a college paper?” When rehearing that I would be focusing on theses again in a class, I said to myself, “Here we go again!” But after learning about the three story thesis, I never had a problem with writing another thesis. In fact, I look forward to being asked on a paper to create a thesis. Timothée Pizarro

For example, imagine you have been assigned a paper about the impact of online learning in higher education. You would first construct an account of the origins and multiple forms of online learning and assess research findings about its use and effectiveness. If you’ve done that well, you’ll probably come up with a well considered opinion that wouldn’t be obvious to readers who haven’t looked at the issue in depth. Maybe you’ll want to argue that online learning is a threat to the academic community. Or perhaps you’ll want to make the case that online learning opens up pathways to college degrees that traditional campus-based learning does not. In the course of developing your central, argumentative point, you’ll come to recognize its larger context; in this example, you may claim that online learning can serve to better integrate higher education with the rest of society, as online learners bring their educational and career experiences together. To outline this example:

• First story : Online learning is becoming more prevalent and takes many different forms.
• Second story : While most observers see it as a transformation of higher education, online learning is better thought of an extension of higher education in that it reaches learners who aren’t disposed to participate in traditional campus-based education.
• Third story : Online learning appears to be a promising way to better integrate higher education with other institutions in society, as online learners integrate their educational experiences with the other realms of their life, promoting the freer flow of ideas between the academy and the rest of society.

Here’s another example of a three-story thesis: 5

• First story : Edith Wharton did not consider herself a modernist writer, and she didn’t write like her modernist contemporaries.
• Second story : However, in her work we can see her grappling with both the questions and literary forms that fascinated modernist writers of her era. While not an avowed modernist, she did engage with modernist themes and questions.
• Third story : Thus, it is more revealing to think of modernism as a conversation rather than a category or practice.

Here’s one more example:

• First story : Scientists disagree about the likely impact in the U.S. of the light brown apple moth (LBAM) , an agricultural pest native to Australia.
• Second story : Research findings to date suggest that the decision to spray pheromones over the skies of several southern Californian counties to combat the LBAM was poorly thought out.
• Third story : Together, the scientific ambiguities and the controversial response strengthen the claim that industrial-style approaches to pest management are inherently unsustainable.

A thesis statement that stops at the first story isn’t usually considered a thesis. A two-story thesis is usually considered competent, though some two-story theses are more intriguing and ambitious than others. A thoughtfully crafted and well informed three-story thesis puts the author on a smooth path toward an excellent paper.

The concept of a three-story thesis framework was the most helpful piece of information I gained from the writing component of DCC 100. The first time I utilized it in a college paper, my professor included “good thesis” and “excellent introduction” in her notes and graded it significantly higher than my previous papers. You can expect similar results if you dig deeper to form three-story theses. More importantly, doing so will make the actual writing of your paper more straightforward as well. Arguing something specific makes the structure of your paper much easier to design. Peter Farrell