form 3 english essay examples

Maya Aisyah,

No.3, Taman Jaya,

89790, Petaling Jaya.

The Principal,

SMK Jaya, Taman Jaya,

89790, Kuala Lipis,

Pahang.                                                                                                                                                               23 MAC 2021. 

Chapter : Writing Skills

Topic : essay, related notes.

• Prepositions
• Subject-verb agreement
• Conjunctions

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Marking Scheme For Writing (PT3)

PT3 Pentaksiran Tingkatan 3 Instructions to Writing Examiners To be used from 2019 Revised version CONTENTS Introduction ................................................................................................................................... 3 This booklet ............................................................................................................................... 3 A note about terminology ......................................................................................................... 3 Security and confidentiality ...................................................................................................... 3 The ES Examiner Management System....................................................................................... 3 CEFR coverage of writing assessment scales ............................................................................. 4 The two assessment scales used for PT3 Writing ...................................................................... 5 Guidance on Using the Assessment Scales ................................................................................ 6 Focus of evaluation ....................................................................................................................... 6 General instructions for marking ................................................................................................. 6 Marking Queries ............................................................................................................................ 8 Writing assessment – Glossary of terms ..................................................................................... 8 Part 1 Assessment Scales .......................................................................................................... 10 Part 2 Assessment Scales .......................................................................................................... 11 Notes ............................................................................................................................................ 12 © ES 2019 2 For Teacher-Examiner use only INTRODUCTION THIS BOOKLET This manual is to be used by all teachers who are involved in the delivery and assessment of the Pentaksiran Tingkatan 3 (PT3) Writing test. Please note that there are separate documents that you will also need to refer to in the training and delivery of assessments. Where relevant, these are noted in this booklet. Examinations Syndicate (ES) welcomes feedback on this booklet. Teacher-examiners who would like to pass on comments may do so via the examiner hierarchy system or directly to ES. A NOTE ABOUT TERMINOLOGY Given that the teacher is engaged as an examiner, from this point onwards the term used in this booklet will be ‘examiner’ but this also refers to all ‘teacher-examiners’ who assess PT3 Writing. SECURITY AND CONFIDENTIALITY All test materials are restricted to examiners. Examiners are responsible for the security of materials at all times when the materials are in their possession. Examiners must not discuss the test materials with anyone other than a fellow ES Examiner. During and after live marking, examiners must not, under any circumstances, divulge information about the performance of candidates or the scores awarded until notified that they are allowed to do so. THE ES EXAMINER MANAGEMENT SYSTEM ES examining process uses a hierarchical structure where more experienced examiners are expected to support and monitor the performance of less experienced examiners. The hierarchy is shown below. EXAMINATION PERSONNEL ES KPK (National Chief Examiner) KPN (State Chief Examiner) KPKw (District Chief Examiner) PKw (District Examiner) KPS (School Chief Examiner - Principal) KPMP (Subject Chief Examiner) PMP (Examiner) © ES 2019 3 For Teacher-Examiner use only TRAINING All Writing Examiners (WEs) must complete an annual training phase prior to the live Writing test. This may be conducted face-to-face or remotely. Regardless of mode of delivery, the following must be covered in training:  Standardisation of Assessment This focuses on ensuring that examiners are able to interpret the assessment scales consistently and appropriately. CEFR COVERAGE OF WRITING ASSESSMENT SCALES The assessment scales (excluding Content) are all derived from a wider CEFR-aligned scale. The diagram below illustrates how each exam part covers various CEFR levels. PT3 Part 1 PT3 Part 2 C2 C1 B2 Band 5 B1 Band 5 Band 3 A2 Band 3 Band 1 A1 Band 1 Pre A1 The overarching aim of the test and the scales is to provide as broad a level of coverage as is feasible within the practical limits of the paper-based test. © ES 2019 4 For Teacher-Examiner use only THE TWO ASSESSMENT SCALES USED FOR PT3 WRITING Two distinct tasks are developed to cover an extended range of abilities (A2-B1 primarily). The first is typical of A2 task types, the second is typical of B1. The first task is focused primarily on the A1-B1 range, the second is focused primarily on the A2-B2 range. Each task is marked using scales to reflect the ability levels it targets and these assessment scales overlap as a result. The Part 1 scale is focused on the A2 CEFR level. The Part 2 scale is focused on the B1 CEFR level. In this way, the scales (and their performance descriptors) have been developed as a continuum as opposed to individual ‘stand-alone’ scales. It is important to interpret the scales in this way, as illustrated below. Part 1 Part 2 Cont Comm Org Lang Cont Comm Org Lang C1 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 B2 5 5 5 5 5 5 5 5 5 5 5 5 4 4 4 4 B1 5 5 5 5 3 3 3 3 4 4 4 4 2 2 2 2 A2 3 3 3 3 1 1 1 1 2 2 2 2 0 0 0 0 A1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 Below 0 0 0 0 0 0 0 0 As can be seen in the chart above, a Band 3 in Part 1 is focused on the CEFR A2 level of performance because the task aims to elicit A2 features. In Part 2, Band 3 is focused on the CEFR B1 level of performance because the task aims to elicit B1 features. No traditional ‘weighting’ of marks is applied because the scales have an in-built weighting which recognises the relative demand of both tasks. For example, a typical A2 ability candidate would achieve mid-scores in Part 1 but lower scores in Part 2. Their cumulative score (i.e. in the region of 16-20 total raw marks out of 40 total marks available across both tasks) would therefore accurately reflect performance, adjusted for the dual focus of the test across A2 and B1 CEFR levels. © ES 2019 5 For Teacher-Examiner use only GUIDANCE ON USING THE ASSESSMENT SCALES FOCUS OF EVALUATION Analytic criteria will inevitably overlap to some extent. They are divided so that a different focus is brought to evaluating a composition. Briefly, the following is the focus of evaluation for each of the sub-scales: CONTENT The focus is on fulfilment of task requirements, e.g. content elements are addressed appropriately. If they are asked to give advice, they must do this rather than ask for advice. COMMUNICATIVE ACHIEVEMENT The focus is on the appropriateness of the writing given the communicative task, e.g. the correct genre and register is used for the given task. Communicative Achievement also focuses on tone and the appropriateness of language selected, which can include register, but also tone. For example, a message can be formal, yet friendly, informal and yet rude etc. ORGANISATION The focus is on the way the text is put together, e.g. how coherent a piece of writing is and how the ideas have been linked. LANGUAGE The focus is on the lexical and grammatical aspects of writing, e.g. range and control of grammatical structures and accuracy. GENERAL INSTRUCTIONS FOR MARKING  In every instance, the primary consideration is: which descriptor best describes the composition being evaluated. If you are unsure about other considerations (e.g. this seems to be covered under both sub-scale x and y; I may be penalising the candidate more than once; but what about feature x? ; would this candidate pass or not; why is no one getting a 5), go back to asking this fundamental question.  Positive phrasing of descriptors does not mean that a performance at that level has no weaknesses. By comparing a descriptor to those adjacent to it, above and below, it should be evident what level of ability and weakness is being described. For descriptors 1 and 5 in a particular level’s scale, the adjacent lower and higher descriptor may be found in the overall scale.  Candidates may achieve high marks on one criterion but low marks on another criterion; they should be marked accordingly. For example, a composition may cover and develop all content elements, but use the wrong genre and register. In that case, it may get a 5 for Content and a 1 for Communicative Achievement. © ES 2019 6 For Teacher-Examiner use only  When achievement of descriptors varies, (e.g. stronger vocabulary coupled with weaker grammar, content elements covered but not appropriately developed), or not all parts of the descriptor achieved, the adjacent score point may be the most appropriate.  Score points 2 and 4: There are two ways for compositions to receive the undefined levels (2 and 4): (1) a performance that reflects part of the higher descriptor and part of the lower descriptor, and (2) a performance is clearly better than the lower descriptor and also clearly worse than the higher descriptor.  Base evaluations on the totality of the writing presented. For example, do not overly focus on any one particular instance of a spelling error, and do not let that one particular instance over-influence the candidate’s mark for Language.  When in doubt about some aspect of a performance, look for evidence elsewhere in the performance that might remove the ambiguity. For example, to determine if a vocabulary or grammatical mistake is a slip or a systematic error, look for other instances of the word or structure.  Overlength/underlength scripts: Length is not a criterion in the mark scheme. Scripts should be read in full and marked as presented. A response that is longer/shorter than the guideline number of words may be entirely appropriate, and its score should not be affected. On the other hand, an overlength script may result in irrelevance (assessed under Content) or have an adverse effect on the target reader (assessed under Communicative Achievement) and should be marked down as appropriate in those sub- scales. Similarly, an underlength script may not exhibit an adequate range of language, may not communicate effectively and/or provide adequate information, which would affect its score in the relevant sub-scales.  Lifting from the input beyond key words and phrases: Candidates should not be given credit for parts of their response that have been lifted from the input. Lifted output may however provide negative evidence about candidates’ abilities and should be considered and evaluated accordingly.  Varieties of English: Candidates are expected to use a particular variety of English with some degree of consistency in areas such as spelling, and not for example switch from using a British spelling of a word to an American spelling of the same word in the same written response to a given task.  Spelling is considered under the Language criterion.  Punctuation is one factor among others under the Organisation criterion.  “Generally” is a downshifting qualifier meaning ‘not in every way/instance’. Thus, ‘generally appropriately’ is not as good as ‘appropriately’.  “Flexible” and “flexibly” refer to the ability to adapt—whether language, organisational devices, or task conventions—evidencing better control and a wider repertoire of these. © ES 2019 7 For Teacher-Examiner use only MARKING QUERIES It is important that WEs contact an experienced examiner if they are unsure about any aspect of their marking or the application of the Assessment Scales so that a decision can be made quickly and appropriately. WRITING ASSESSMENT – GLOSSARY OF TERMS The following definitions and notes are provided in order to support interpretation of the scale content. It is not exhaustive and if you are ever unsure of any assessment-specific terminology you should consult your Team Leader in the first instance. a good degree of control able to use the correct forms and structures consistently. a limited number of minimal usage. (e.g. words/phrases are repeated or used only once or twice). a range of everyday vocabulary able to use common words and phrases in the relevant context (i.e. usage of high frequency vocabulary and absence of less common lexis) a variety of cohesive devices a wide range of or no overuse of sophisticated words and phrases (i.e. able to use different cohesive devices in each paragraph). appropriately suits the context. basic vocabulary words used for daily purposes. basic, high frequency linking words/ simple connectors (e.g. and, but, or, because, so, first of connectors all, finally, etc.). cohesive devices more sophisticated linking words and phrases. (e.g. for example, in conclusion, however, moreover, subsequently, furthermore, in other words, as a result, for that matter, etc.). communicates simple ideas in able to convey relevant ideas with minimum development. simple ways communicating successfully able to convey the intended message in the most appropriate manner. complex grammatical forms complex items (i.e. complex tenses other than the simple tenses (e.g. the perfect tense, the progressive tense), passive forms, adverbs clauses, etc. ) communicative task types of essays/text (e.g. letter, message, report, etc.) content the points/ideas provided by the candidates. conventions of the the way of writing a particular genre (the format, the tone, the register communicative task and function). For example, a message should have a friendly tone, an introduction and a closure. errors mistakes that occur repeatedly. fully informed content elements and/or task requirements are completely addressed (covered) and appropriately developed. generally not in every case but most cases/ almost always. © ES 2019 8 For Teacher-Examiner use only hold the target reader’s the quality of a text that keeps a reader interested and not easily attention distracted. impede meaning reading is hampered and effort is required from the reader to re-read and understand. irrelevances and/or the candidate has misunderstood the task requirement and included misinterpretation of task non-related content elements. isolated short units about disconnected patches of words, phrases or very short sentences that simple and concrete matters communicate basic ideas. isolated words and phrases disconnected patches of words and phrases. less common lexis lower frequency words that most students would not think of using in their writing (i.e. use of above-level lexis) limited control frequent grammatical errors. meaning can still be idea comes through despite errors. determined minimally informed content elements and/or task requirements are inadequately addressed (covered) and occasionally developed. minor irrelevances and/or some misunderstanding of task requirement and/or incomplete content omissions elements. Examiners should be careful not to penalise a candidate who has included extra information which adds to the response, such as a personal anecdote, even though this may not be required in the task. not informed inappropriate development of ideas and inappropriate expansion of required elements. noticeable errors that are clear which may or may not impede meaning . on occasion sometimes used but not often. on the whole informed target reader is able to understand despite minor irrelevances. punctuation the use of capitalisation, full stop, exclamation mark and apostrophe, etc. reasonably moderately/in a satisfactory way. reasonably well ideas are communicated fairly well using the correct genre/format. relevant ideas are related to the task. simple connectors use of simple linking words (e.g. simple connectors - and, or, but, so, because). simple grammatical forms words, phrases and basic forms of tenses. simple ideas concrete ideas. simple way ideas are conveyed directly. some degree of control generally able to use the correct forms and structures. straightforward ideas ideas connected to the topic are communicated in an appropriate way. target reader intended audience. totally irrelevant the content produced by the candidate has no link to the task. well-organised and coherent good flow of ideas. © ES 2019 9 For Teacher-Examiner use only PART 1 ASSESSMENT SCALES Form 3 Writing Part 1 Communicative Scale Content Organisation Language Achievement Uses basic vocabulary appropriately. Produces a text that Uses simple All content is relevant communicates connectors and a Uses simple to the task. grammatical forms with 5 straightforward ideas limited number of a good degree of using the conventions of cohesive devices Target reader is fully the communicative task appropriately. control. informed. While errors are reasonably well. noticeable, meaning can still be determined. 4 Performance shares features of Bands 3 and 5 Minor irrelevances Uses basic vocabulary and/or omissions may reasonably. be present. Produces a text that Text is connected using Uses simple 3 communicates simple basic, high frequency ideas in simple ways. connectors. grammatical forms with Target reader is on some degree of control. the whole informed. Errors may impede meaning at times. 2 Performance shares features of Bands 1 and 3 Irrelevances and/or Produces isolated short Production unlikely to Produces basic misinterpretation of units about simple and be connected, though vocabulary of isolated task may be present. concrete matters, not punctuation and simple words and phrases. 1 always communicating connectors (i.e. and) Produces few simple Target reader is successfully. may be used on grammatical forms with minimally informed. occasion. only limited control. Content is totally irrelevant. 0 Performance below Band 1 Target reader is not informed. © ES 2019 10 For Teacher-Examiner use only PART 2 ASSESSMENT SCALES Form 3 Writing Part 2 Communicative Scale Content Organisation Language Achievement Uses a range of everyday vocabulary with occasional Uses the conventions of All content is relevant the communicative task Text is generally well- inappropriate use of less common lexis. to the task. to hold the target organised and 5 reader’s attention and coherent, using a Uses a range of simple Target reader is fully communicate variety of cohesive and some complex grammatical forms with informed. straightforward ideas. devices. a good degree of control. Errors do not impede communication. 4 Performance shares features of Bands 3 and 5 Uses basic vocabulary Produces a text that appropriately. Minor irrelevances communicates Uses simple Uses simple and/or omissions may straightforward ideas connectors and a grammatical forms with be present. limited number of 3 using the conventions of a good degree of the communicative task cohesive devices control. Target reader is on reasonably well. appropriately. While errors are the whole informed. noticeable, meaning can still be determined. 2 Performance shares features of Bands 1 and 3 Uses basic vocabulary reasonably. Irrelevances and/or Uses simple misinterpretation of Produces a text that Text is connected grammatical forms with task may be present. some degree of 1 communicates simple using basic, high control. Target reader is ideas in simple ways. frequency connectors. Errors may impede minimally informed. meaning at times. Content is totally irrelevant. 0 Performance below Band 1 Target reader is not informed. © ES 2019 11 For Teacher-Examiner use only NOTES © ES 2019 12 For Teacher-Examiner use only

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3 Great Narrative Essay Examples + Tips for Writing

General Education

A narrative essay is one of the most intimidating assignments you can be handed at any level of your education. Where you've previously written argumentative essays that make a point or analytic essays that dissect meaning, a narrative essay asks you to write what is effectively a story .

But unlike a simple work of creative fiction, your narrative essay must have a clear and concrete motif —a recurring theme or idea that you’ll explore throughout. Narrative essays are less rigid, more creative in expression, and therefore pretty different from most other essays you’ll be writing.

But not to fear—in this article, we’ll be covering what a narrative essay is, how to write a good one, and also analyzing some personal narrative essay examples to show you what a great one looks like.

What Is a Narrative Essay?

At first glance, a narrative essay might sound like you’re just writing a story. Like the stories you're used to reading, a narrative essay is generally (but not always) chronological, following a clear throughline from beginning to end. Even if the story jumps around in time, all the details will come back to one specific theme, demonstrated through your choice in motifs.

Unlike many creative stories, however, your narrative essay should be based in fact. That doesn’t mean that every detail needs to be pure and untainted by imagination, but rather that you shouldn’t wholly invent the events of your narrative essay. There’s nothing wrong with inventing a person’s words if you can’t remember them exactly, but you shouldn’t say they said something they weren’t even close to saying.

Another big difference between narrative essays and creative fiction—as well as other kinds of essays—is that narrative essays are based on motifs. A motif is a dominant idea or theme, one that you establish before writing the essay. As you’re crafting the narrative, it’ll feed back into your motif to create a comprehensive picture of whatever that motif is.

For example, say you want to write a narrative essay about how your first day in high school helped you establish your identity. You might discuss events like trying to figure out where to sit in the cafeteria, having to describe yourself in five words as an icebreaker in your math class, or being unsure what to do during your lunch break because it’s no longer acceptable to go outside and play during lunch. All of those ideas feed back into the central motif of establishing your identity.

The important thing to remember is that while a narrative essay is typically told chronologically and intended to read like a story, it is not purely for entertainment value. A narrative essay delivers its theme by deliberately weaving the motifs through the events, scenes, and details. While a narrative essay may be entertaining, its primary purpose is to tell a complete story based on a central meaning.

Unlike other essay forms, it is totally okay—even expected—to use first-person narration in narrative essays. If you’re writing a story about yourself, it’s natural to refer to yourself within the essay. It’s also okay to use other perspectives, such as third- or even second-person, but that should only be done if it better serves your motif. Generally speaking, your narrative essay should be in first-person perspective.

Though your motif choices may feel at times like you’re making a point the way you would in an argumentative essay, a narrative essay’s goal is to tell a story, not convince the reader of anything. Your reader should be able to tell what your motif is from reading, but you don’t have to change their mind about anything. If they don’t understand the point you are making, you should consider strengthening the delivery of the events and descriptions that support your motif.

Narrative essays also share some features with analytical essays, in which you derive meaning from a book, film, or other media. But narrative essays work differently—you’re not trying to draw meaning from an existing text, but rather using an event you’ve experienced to convey meaning. In an analytical essay, you examine narrative, whereas in a narrative essay you create narrative.

The structure of a narrative essay is also a bit different than other essays. You’ll generally be getting your point across chronologically as opposed to grouping together specific arguments in paragraphs or sections. To return to the example of an essay discussing your first day of high school and how it impacted the shaping of your identity, it would be weird to put the events out of order, even if not knowing what to do after lunch feels like a stronger idea than choosing where to sit. Instead of organizing to deliver your information based on maximum impact, you’ll be telling your story as it happened, using concrete details to reinforce your theme.

3 Great Narrative Essay Examples

One of the best ways to learn how to write a narrative essay is to look at a great narrative essay sample. Let’s take a look at some truly stellar narrative essay examples and dive into what exactly makes them work so well.

A Ticket to the Fair by David Foster Wallace

Today is Press Day at the Illinois State Fair in Springfield, and I’m supposed to be at the fairgrounds by 9:00 A.M. to get my credentials. I imagine credentials to be a small white card in the band of a fedora. I’ve never been considered press before. My real interest in credentials is getting into rides and shows for free. I’m fresh in from the East Coast, for an East Coast magazine. Why exactly they’re interested in the Illinois State Fair remains unclear to me. I suspect that every so often editors at East Coast magazines slap their foreheads and remember that about 90 percent of the United States lies between the coasts, and figure they’ll engage somebody to do pith-helmeted anthropological reporting on something rural and heartlandish. I think they asked me to do this because I grew up here, just a couple hours’ drive from downstate Springfield. I never did go to the state fair, though—I pretty much topped out at the county fair level. Actually, I haven’t been back to Illinois for a long time, and I can’t say I’ve missed it.

Throughout this essay, David Foster Wallace recounts his experience as press at the Illinois State Fair. But it’s clear from this opening that he’s not just reporting on the events exactly as they happened—though that’s also true— but rather making a point about how the East Coast, where he lives and works, thinks about the Midwest.

In his opening paragraph, Wallace states that outright: “Why exactly they’re interested in the Illinois State Fair remains unclear to me. I suspect that every so often editors at East Coast magazines slap their foreheads and remember that about 90 percent of the United States lies between the coasts, and figure they’ll engage somebody to do pith-helmeted anthropological reporting on something rural and heartlandish.”

Not every motif needs to be stated this clearly , but in an essay as long as Wallace’s, particularly since the audience for such a piece may feel similarly and forget that such a large portion of the country exists, it’s important to make that point clear.

But Wallace doesn’t just rest on introducing his motif and telling the events exactly as they occurred from there. It’s clear that he selects events that remind us of that idea of East Coast cynicism , such as when he realizes that the Help Me Grow tent is standing on top of fake grass that is killing the real grass beneath, when he realizes the hypocrisy of craving a corn dog when faced with a real, suffering pig, when he’s upset for his friend even though he’s not the one being sexually harassed, and when he witnesses another East Coast person doing something he wouldn’t dare to do.

Wallace is literally telling the audience exactly what happened, complete with dates and timestamps for when each event occurred. But he’s also choosing those events with a purpose—he doesn’t focus on details that don’t serve his motif. That’s why he discusses the experiences of people, how the smells are unappealing to him, and how all the people he meets, in cowboy hats, overalls, or “black spandex that looks like cheesecake leotards,” feel almost alien to him.

All of these details feed back into the throughline of East Coast thinking that Wallace introduces in the first paragraph. He also refers back to it in the essay’s final paragraph, stating:

At last, an overarching theory blooms inside my head: megalopolitan East Coasters’ summer treats and breaks and literally ‘getaways,’ flights-from—from crowds, noise, heat, dirt, the stress of too many sensory choices….The East Coast existential treat is escape from confines and stimuli—quiet, rustic vistas that hold still, turn inward, turn away. Not so in the rural Midwest. Here you’re pretty much away all the time….Something in a Midwesterner sort of actuates , deep down, at a public event….The real spectacle that draws us here is us.

Throughout this journey, Wallace has tried to demonstrate how the East Coast thinks about the Midwest, ultimately concluding that they are captivated by the Midwest’s less stimuli-filled life, but that the real reason they are interested in events like the Illinois State Fair is that they are, in some ways, a means of looking at the East Coast in a new, estranging way.

The reason this works so well is that Wallace has carefully chosen his examples, outlined his motif and themes in the first paragraph, and eventually circled back to the original motif with a clearer understanding of his original point.

When outlining your own narrative essay, try to do the same. Start with a theme, build upon it with examples, and return to it in the end with an even deeper understanding of the original issue. You don’t need this much space to explore a theme, either—as we’ll see in the next example, a strong narrative essay can also be very short.

Death of a Moth by Virginia Woolf

After a time, tired by his dancing apparently, he settled on the window ledge in the sun, and, the queer spectacle being at an end, I forgot about him. Then, looking up, my eye was caught by him. He was trying to resume his dancing, but seemed either so stiff or so awkward that he could only flutter to the bottom of the window-pane; and when he tried to fly across it he failed. Being intent on other matters I watched these futile attempts for a time without thinking, unconsciously waiting for him to resume his flight, as one waits for a machine, that has stopped momentarily, to start again without considering the reason of its failure. After perhaps a seventh attempt he slipped from the wooden ledge and fell, fluttering his wings, on to his back on the window sill. The helplessness of his attitude roused me. It flashed upon me that he was in difficulties; he could no longer raise himself; his legs struggled vainly. But, as I stretched out a pencil, meaning to help him to right himself, it came over me that the failure and awkwardness were the approach of death. I laid the pencil down again.

In this essay, Virginia Woolf explains her encounter with a dying moth. On surface level, this essay is just a recounting of an afternoon in which she watched a moth die—it’s even established in the title. But there’s more to it than that. Though Woolf does not begin her essay with as clear a motif as Wallace, it’s not hard to pick out the evidence she uses to support her point, which is that the experience of this moth is also the human experience.

In the title, Woolf tells us this essay is about death. But in the first paragraph, she seems to mostly be discussing life—the moth is “content with life,” people are working in the fields, and birds are flying. However, she mentions that it is mid-September and that the fields were being plowed. It’s autumn and it’s time for the harvest; the time of year in which many things die.

In this short essay, she chronicles the experience of watching a moth seemingly embody life, then die. Though this essay is literally about a moth, it’s also about a whole lot more than that. After all, moths aren’t the only things that die—Woolf is also reflecting on her own mortality, as well as the mortality of everything around her.

At its core, the essay discusses the push and pull of life and death, not in a way that’s necessarily sad, but in a way that is accepting of both. Woolf begins by setting up the transitional fall season, often associated with things coming to an end, and raises the ideas of pleasure, vitality, and pity.

At one point, Woolf tries to help the dying moth, but reconsiders, as it would interfere with the natural order of the world. The moth’s death is part of the natural order of the world, just like fall, just like her own eventual death.

All these themes are set up in the beginning and explored throughout the essay’s narrative. Though Woolf doesn’t directly state her theme, she reinforces it by choosing a small, isolated event—watching a moth die—and illustrating her point through details.

With this essay, we can see that you don’t need a big, weird, exciting event to discuss an important meaning. Woolf is able to explore complicated ideas in a short essay by being deliberate about what details she includes, just as you can be in your own essays.

Notes of a Native Son by James Baldwin

On the twenty-ninth of July, in 1943, my father died. On the same day, a few hours later, his last child was born. Over a month before this, while all our energies were concentrated in waiting for these events, there had been, in Detroit, one of the bloodiest race riots of the century. A few hours after my father’s funeral, while he lay in state in the undertaker’s chapel, a race riot broke out in Harlem. On the morning of the third of August, we drove my father to the graveyard through a wilderness of smashed plate glass.

Like Woolf, Baldwin does not lay out his themes in concrete terms—unlike Wallace, there’s no clear sentence that explains what he’ll be talking about. However, you can see the motifs quite clearly: death, fatherhood, struggle, and race.

Throughout the narrative essay, Baldwin discusses the circumstances of his father’s death, including his complicated relationship with his father. By introducing those motifs in the first paragraph, the reader understands that everything discussed in the essay will come back to those core ideas. When Baldwin talks about his experience with a white teacher taking an interest in him and his father’s resistance to that, he is also talking about race and his father’s death. When he talks about his father’s death, he is also talking about his views on race. When he talks about his encounters with segregation and racism, he is talking, in part, about his father.

Because his father was a hard, uncompromising man, Baldwin struggles to reconcile the knowledge that his father was right about many things with his desire to not let that hardness consume him, as well.

Baldwin doesn’t explicitly state any of this, but his writing so often touches on the same motifs that it becomes clear he wants us to think about all these ideas in conversation with one another.

At the end of the essay, Baldwin makes it more clear:

This fight begins, however, in the heart and it had now been laid to my charge to keep my own heart free of hatred and despair. This intimation made my heart heavy and, now that my father was irrecoverable, I wished that he had been beside me so that I could have searched his face for the answers which only the future would give me now.

Here, Baldwin ties together the themes and motifs into one clear statement: that he must continue to fight and recognize injustice, especially racial injustice, just as his father did. But unlike his father, he must do it beginning with himself—he must not let himself be closed off to the world as his father was. And yet, he still wishes he had his father for guidance, even as he establishes that he hopes to be a different man than his father.

In this essay, Baldwin loads the front of the essay with his motifs, and, through his narrative, weaves them together into a theme. In the end, he comes to a conclusion that connects all of those things together and leaves the reader with a lasting impression of completion—though the elements may have been initially disparate, in the end everything makes sense.

You can replicate this tactic of introducing seemingly unattached ideas and weaving them together in your own essays. By introducing those motifs, developing them throughout, and bringing them together in the end, you can demonstrate to your reader how all of them are related. However, it’s especially important to be sure that your motifs and clear and consistent throughout your essay so that the conclusion feels earned and consistent—if not, readers may feel mislead.

5 Key Tips for Writing Narrative Essays

Narrative essays can be a lot of fun to write since they’re so heavily based on creativity. But that can also feel intimidating—sometimes it’s easier to have strict guidelines than to have to make it all up yourself. Here are a few tips to keep your narrative essay feeling strong and fresh.

Develop Strong Motifs

Motifs are the foundation of a narrative essay . What are you trying to say? How can you say that using specific symbols or events? Those are your motifs.

In the same way that an argumentative essay’s body should support its thesis, the body of your narrative essay should include motifs that support your theme.

Try to avoid cliches, as these will feel tired to your readers. Instead of roses to symbolize love, try succulents. Instead of the ocean representing some vast, unknowable truth, try the depths of your brother’s bedroom. Keep your language and motifs fresh and your essay will be even stronger!

Use First-Person Perspective

In many essays, you’re expected to remove yourself so that your points stand on their own. Not so in a narrative essay—in this case, you want to make use of your own perspective.

Sometimes a different perspective can make your point even stronger. If you want someone to identify with your point of view, it may be tempting to choose a second-person perspective. However, be sure you really understand the function of second-person; it’s very easy to put a reader off if the narration isn’t expertly deployed.

If you want a little bit of distance, third-person perspective may be okay. But be careful—too much distance and your reader may feel like the narrative lacks truth.

That’s why first-person perspective is the standard. It keeps you, the writer, close to the narrative, reminding the reader that it really happened. And because you really know what happened and how, you’re free to inject your own opinion into the story without it detracting from your point, as it would in a different type of essay.

Stick to the Truth

Your essay should be true. However, this is a creative essay, and it’s okay to embellish a little. Rarely in life do we experience anything with a clear, concrete meaning the way somebody in a book might. If you flub the details a little, it’s okay—just don’t make them up entirely.

Also, nobody expects you to perfectly recall details that may have happened years ago. You may have to reconstruct dialog from your memory and your imagination. That’s okay, again, as long as you aren’t making it up entirely and assigning made-up statements to somebody.

Dialog is a powerful tool. A good conversation can add flavor and interest to a story, as we saw demonstrated in David Foster Wallace’s essay. As previously mentioned, it’s okay to flub it a little, especially because you’re likely writing about an experience you had without knowing that you’d be writing about it later.

However, don’t rely too much on it. Your narrative essay shouldn’t be told through people explaining things to one another; the motif comes through in the details. Dialog can be one of those details, but it shouldn’t be the only one.

Use Sensory Descriptions

Because a narrative essay is a story, you can use sensory details to make your writing more interesting. If you’re describing a particular experience, you can go into detail about things like taste, smell, and hearing in a way that you probably wouldn’t do in any other essay style.

These details can tie into your overall motifs and further your point. Woolf describes in great detail what she sees while watching the moth, giving us the sense that we, too, are watching the moth. In Wallace’s essay, he discusses the sights, sounds, and smells of the Illinois State Fair to help emphasize his point about its strangeness. And in Baldwin’s essay, he describes shattered glass as a “wilderness,” and uses the feelings of his body to describe his mental state.

All these descriptions anchor us not only in the story, but in the motifs and themes as well. One of the tools of a writer is making the reader feel as you felt, and sensory details help you achieve that.

What’s Next?

Looking to brush up on your essay-writing capabilities before the ACT? This guide to ACT English will walk you through some of the best strategies and practice questions to get you prepared!

Part of practicing for the ACT is ensuring your word choice and diction are on point. Check out this guide to some of the most common errors on the ACT English section to be sure that you're not making these common mistakes!

A solid understanding of English principles will help you make an effective point in a narrative essay, and you can get that understanding through taking a rigorous assortment of high school English classes !

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Melissa Brinks graduated from the University of Washington in 2014 with a Bachelor's in English with a creative writing emphasis. She has spent several years tutoring K-12 students in many subjects, including in SAT prep, to help them prepare for their college education.

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• The four main types of essay | Quick guide with examples

The Four Main Types of Essay | Quick Guide with Examples

Published on September 4, 2020 by Jack Caulfield . Revised on July 23, 2023.

An essay is a focused piece of writing designed to inform or persuade. There are many different types of essay, but they are often defined in four categories: argumentative, expository, narrative, and descriptive essays.

Argumentative and expository essays are focused on conveying information and making clear points, while narrative and descriptive essays are about exercising creativity and writing in an interesting way. At university level, argumentative essays are the most common type. 

In high school and college, you will also often have to write textual analysis essays, which test your skills in close reading and interpretation.

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Table of contents

Argumentative essays, expository essays, narrative essays, descriptive essays, textual analysis essays, other interesting articles, frequently asked questions about types of essays.

An argumentative essay presents an extended, evidence-based argument. It requires a strong thesis statement —a clearly defined stance on your topic. Your aim is to convince the reader of your thesis using evidence (such as quotations ) and analysis.

Argumentative essays test your ability to research and present your own position on a topic. This is the most common type of essay at college level—most papers you write will involve some kind of argumentation.

The essay is divided into an introduction, body, and conclusion:

• The introduction provides your topic and thesis statement
• The body presents your evidence and arguments
• The conclusion summarizes your argument and emphasizes its importance

The example below is a paragraph from the body of an argumentative essay about the effects of the internet on education. Mouse over it to learn more.

A common frustration for teachers is students’ use of Wikipedia as a source in their writing. Its prevalence among students is not exaggerated; a survey found that the vast majority of the students surveyed used Wikipedia (Head & Eisenberg, 2010). An article in The Guardian stresses a common objection to its use: “a reliance on Wikipedia can discourage students from engaging with genuine academic writing” (Coomer, 2013). Teachers are clearly not mistaken in viewing Wikipedia usage as ubiquitous among their students; but the claim that it discourages engagement with academic sources requires further investigation. This point is treated as self-evident by many teachers, but Wikipedia itself explicitly encourages students to look into other sources. Its articles often provide references to academic publications and include warning notes where citations are missing; the site’s own guidelines for research make clear that it should be used as a starting point, emphasizing that users should always “read the references and check whether they really do support what the article says” (“Wikipedia:Researching with Wikipedia,” 2020). Indeed, for many students, Wikipedia is their first encounter with the concepts of citation and referencing. The use of Wikipedia therefore has a positive side that merits deeper consideration than it often receives.

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An expository essay provides a clear, focused explanation of a topic. It doesn’t require an original argument, just a balanced and well-organized view of the topic.

Expository essays test your familiarity with a topic and your ability to organize and convey information. They are commonly assigned at high school or in exam questions at college level.

The introduction of an expository essay states your topic and provides some general background, the body presents the details, and the conclusion summarizes the information presented.

A typical body paragraph from an expository essay about the invention of the printing press is shown below. Mouse over it to learn more.

The invention of the printing press in 1440 changed this situation dramatically. Johannes Gutenberg, who had worked as a goldsmith, used his knowledge of metals in the design of the press. He made his type from an alloy of lead, tin, and antimony, whose durability allowed for the reliable production of high-quality books. This new technology allowed texts to be reproduced and disseminated on a much larger scale than was previously possible. The Gutenberg Bible appeared in the 1450s, and a large number of printing presses sprang up across the continent in the following decades. Gutenberg’s invention rapidly transformed cultural production in Europe; among other things, it would lead to the Protestant Reformation.

A narrative essay is one that tells a story. This is usually a story about a personal experience you had, but it may also be an imaginative exploration of something you have not experienced.

Narrative essays test your ability to build up a narrative in an engaging, well-structured way. They are much more personal and creative than other kinds of academic writing . Writing a personal statement for an application requires the same skills as a narrative essay.

A narrative essay isn’t strictly divided into introduction, body, and conclusion, but it should still begin by setting up the narrative and finish by expressing the point of the story—what you learned from your experience, or why it made an impression on you.

Mouse over the example below, a short narrative essay responding to the prompt “Write about an experience where you learned something about yourself,” to explore its structure.

Since elementary school, I have always favored subjects like science and math over the humanities. My instinct was always to think of these subjects as more solid and serious than classes like English. If there was no right answer, I thought, why bother? But recently I had an experience that taught me my academic interests are more flexible than I had thought: I took my first philosophy class.

Before I entered the classroom, I was skeptical. I waited outside with the other students and wondered what exactly philosophy would involve—I really had no idea. I imagined something pretty abstract: long, stilted conversations pondering the meaning of life. But what I got was something quite different.

A young man in jeans, Mr. Jones—“but you can call me Rob”—was far from the white-haired, buttoned-up old man I had half-expected. And rather than pulling us into pedantic arguments about obscure philosophical points, Rob engaged us on our level. To talk free will, we looked at our own choices. To talk ethics, we looked at dilemmas we had faced ourselves. By the end of class, I’d discovered that questions with no right answer can turn out to be the most interesting ones.

The experience has taught me to look at things a little more “philosophically”—and not just because it was a philosophy class! I learned that if I let go of my preconceptions, I can actually get a lot out of subjects I was previously dismissive of. The class taught me—in more ways than one—to look at things with an open mind.

A descriptive essay provides a detailed sensory description of something. Like narrative essays, they allow you to be more creative than most academic writing, but they are more tightly focused than narrative essays. You might describe a specific place or object, rather than telling a whole story.

Descriptive essays test your ability to use language creatively, making striking word choices to convey a memorable picture of what you’re describing.

A descriptive essay can be quite loosely structured, though it should usually begin by introducing the object of your description and end by drawing an overall picture of it. The important thing is to use careful word choices and figurative language to create an original description of your object.

Mouse over the example below, a response to the prompt “Describe a place you love to spend time in,” to learn more about descriptive essays.

On Sunday afternoons I like to spend my time in the garden behind my house. The garden is narrow but long, a corridor of green extending from the back of the house, and I sit on a lawn chair at the far end to read and relax. I am in my small peaceful paradise: the shade of the tree, the feel of the grass on my feet, the gentle activity of the fish in the pond beside me.

My cat crosses the garden nimbly and leaps onto the fence to survey it from above. From his perch he can watch over his little kingdom and keep an eye on the neighbours. He does this until the barking of next door’s dog scares him from his post and he bolts for the cat flap to govern from the safety of the kitchen.

With that, I am left alone with the fish, whose whole world is the pond by my feet. The fish explore the pond every day as if for the first time, prodding and inspecting every stone. I sometimes feel the same about sitting here in the garden; I know the place better than anyone, but whenever I return I still feel compelled to pay attention to all its details and novelties—a new bird perched in the tree, the growth of the grass, and the movement of the insects it shelters…

Sitting out in the garden, I feel serene. I feel at home. And yet I always feel there is more to discover. The bounds of my garden may be small, but there is a whole world contained within it, and it is one I will never get tired of inhabiting.

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Though every essay type tests your writing skills, some essays also test your ability to read carefully and critically. In a textual analysis essay, you don’t just present information on a topic, but closely analyze a text to explain how it achieves certain effects.

Rhetorical analysis

A rhetorical analysis looks at a persuasive text (e.g. a speech, an essay, a political cartoon) in terms of the rhetorical devices it uses, and evaluates their effectiveness.

The goal is not to state whether you agree with the author’s argument but to look at how they have constructed it.

The introduction of a rhetorical analysis presents the text, some background information, and your thesis statement; the body comprises the analysis itself; and the conclusion wraps up your analysis of the text, emphasizing its relevance to broader concerns.

The example below is from a rhetorical analysis of Martin Luther King Jr.’s “I Have a Dream” speech . Mouse over it to learn more.

King’s speech is infused with prophetic language throughout. Even before the famous “dream” part of the speech, King’s language consistently strikes a prophetic tone. He refers to the Lincoln Memorial as a “hallowed spot” and speaks of rising “from the dark and desolate valley of segregation” to “make justice a reality for all of God’s children.” The assumption of this prophetic voice constitutes the text’s strongest ethical appeal; after linking himself with political figures like Lincoln and the Founding Fathers, King’s ethos adopts a distinctly religious tone, recalling Biblical prophets and preachers of change from across history. This adds significant force to his words; standing before an audience of hundreds of thousands, he states not just what the future should be, but what it will be: “The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.” This warning is almost apocalyptic in tone, though it concludes with the positive image of the “bright day of justice.” The power of King’s rhetoric thus stems not only from the pathos of his vision of a brighter future, but from the ethos of the prophetic voice he adopts in expressing this vision.

Literary analysis

A literary analysis essay presents a close reading of a work of literature—e.g. a poem or novel—to explore the choices made by the author and how they help to convey the text’s theme. It is not simply a book report or a review, but an in-depth interpretation of the text.

Literary analysis looks at things like setting, characters, themes, and figurative language. The goal is to closely analyze what the author conveys and how.

The introduction of a literary analysis essay presents the text and background, and provides your thesis statement; the body consists of close readings of the text with quotations and analysis in support of your argument; and the conclusion emphasizes what your approach tells us about the text.

Mouse over the example below, the introduction to a literary analysis essay on Frankenstein , to learn more.

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

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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At high school and in composition classes at university, you’ll often be told to write a specific type of essay , but you might also just be given prompts.

Look for keywords in these prompts that suggest a certain approach: The word “explain” suggests you should write an expository essay , while the word “describe” implies a descriptive essay . An argumentative essay might be prompted with the word “assess” or “argue.”

The vast majority of essays written at university are some sort of argumentative essay . Almost all academic writing involves building up an argument, though other types of essay might be assigned in composition classes.

Essays can present arguments about all kinds of different topics. For example:

• In a literary analysis essay, you might make an argument for a specific interpretation of a text
• In a history essay, you might present an argument for the importance of a particular event
• In a politics essay, you might argue for the validity of a certain political theory

An argumentative essay tends to be a longer essay involving independent research, and aims to make an original argument about a topic. Its thesis statement makes a contentious claim that must be supported in an objective, evidence-based way.

An expository essay also aims to be objective, but it doesn’t have to make an original argument. Rather, it aims to explain something (e.g., a process or idea) in a clear, concise way. Expository essays are often shorter assignments and rely less on research.

The key difference is that a narrative essay is designed to tell a complete story, while a descriptive essay is meant to convey an intense description of a particular place, object, or concept.

Narrative and descriptive essays both allow you to write more personally and creatively than other kinds of essays , and similar writing skills can apply to both.

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