how to start a genre analysis essay

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How To: Genre Analysis  

Although most of us think of music styles when we hear the word “genre,” the word simply means category of items that share the same characteristics, usually in the arts. In this context, however, we are talking about types of texts. Texts can be written, visual, or oral.  

For instance, a written genre would be blogs, such as this one, books, or news articles. A visual genre would be cartoons, videos, or posters. An oral genre would be podcasts, speeches, or songs. Each of these genres communicates differently because each genre has different rules.   

A genre analysis is an essay where you dissect texts to understand how they are working to communicate their message. This will help you understand that each genre has different requirements and limitations that we, as writers, must be aware of when using that genre to communicate.    

Sections of a genre analysis   

Like all other essays, a genre analysis has an introduction, body, and conclusion.  

In your introduction, you introduce the topic and the texts you’ll be analyzing.  

In your body, you do your analysis. This should be your longest section.  

In your conclusion, you do a short summary of everything you talked about and include any closing thoughts, such as whether you think the text accomplished its purpose and why.   

Content  

All professors ask for different things, so make sure to look at their instructions. These are some areas that will help you analyze your text and that you might want to touch base on in your essay (most professors ask for them):

1. Purpose of the text 

What did the creator of the text want to achieve with it? Why was the text created? Did something prompt the creator to make the text?  

Sometimes, the texts themselves answer these questions. Other times, we get that through clues like the language they use, the platforms the creator chose to spread their text, and so on. Make sure to include in your essay what features of the text led you to your answer.  

If we take this blog post as an example, we can say that its purpose is to inform students like you about what a genre analysis is and the content it requires. You probably figured this out through the language I’m using and the information I’m choosing to include.  

2. Intended audience 

Who is the creator of the text trying to reach? How did you figure that out?  

The audience can be as specific as a small group of people interested in a very niche topic or as broad as people curious about a common topic.   

With this blog, for example, I’m trying to reach students, particularly UTEP students who have this assignment and are trying to understand it. My causal and informative tone, as well as the fact that the blog is posted on UTEP’s Writing Center blog, probably gave this away.   

3. Structure 

How is the text organized? How does that help the creator achieve the text’s purpose?  

You need to know the information at the top of this blog post to understand what comes after, so this blog post is organized in order of complexity.   

4. Genre conventions 

Is the text following the usual characteristics of the genre? How is this helping or impeding the text to achieve its purpose?  

Like most blogs, this one is using simple language, short paragraphs, and illustrations. My use of all these elements is helping me be clear and specific so you can understand your assignment.  

5. Connection 

Do the ideas in the text come from somewhere else? Can the reader or consumer interact with the text? Is the text inviting that interaction?  

Most of the time, when the ideas come from another source, the text will make that clear by mentioning the text. In terms of interaction possible with the text, think about if it would be easy for you to say something back to the text.   

For instance, if you wanted to ask a question about this blog post, you could type it in our comment section. I might not explicitly say that many ideas in this blog come from the guidelines your professor gives you for this assignment, but you probably gathered that because I mention that these areas are things most professors are looking for.   

Hopefully, this information helps you tackle your assignment with a clearer idea of what your professor is looking for. Make sure to address any other areas the professor is asking you to.  

If you still have questions or want to make sure you are on the right path, come visit us at the University Writing Center.   

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COM 1010: Composition and Critical Thinking I

• Understanding Genre and Genre Analysis
• The Writing Process
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• Shifting Genres

Understanding What is Meant by the Word "Genre"

What do we mean by genre? This means a type of writing, i.e., an essay, a poem, a recipe, an email, a tweet. These are all different types (or categories) of writing, and each one has its own format, type of words, tone, and so on.  Analyzing a type of writing (or genre) is considered a genre analysis project. A genre analysis grants students the means to think critically about how a particular form of communication functions as well as a means to evaluate it.

Every genre (type of writing/writing style) has a set of conventions that allow that particular genre to be unique. These conventions include the following components:

• Tone: tone of voice, i.e. serious, humorous, scholarly, informal.
• Diction : word usage - formal or informal, i.e. “disoriented” (formal) versus “spaced out” (informal or colloquial).
•   Content : what is being discussed/demonstrated in the piece? What information is included or needs to be included?
•   Style / Format (the way it looks): long or short sentences? Bulleted list? Paragraphs? Short-hand? Abbreviations? Does punctuation and grammar matter? How detailed do you need to be? Single-spaced or double-spaced? Can pictures / should pictures be included? How long does it need to be / should be? What kind of organizational requirements are there?
•   Expected Medium of Genre : where does the genre appear? Where is it created? i.e. can be it be online (digital) or does it need to be in print (computer paper, magazine, etc)? Where does this genre occur? i.e. flyers (mostly) occur in the hallways of our school, and letters of recommendation (mostly) occur in professors’ offices.
• Genre creates an expectation in the minds of its audience and may fail or succeed depending on if that expectation is met or not.
• Many genres have built-in audiences and corresponding publications that support them, such as magazines and websites.
• The goal of the piece that is written, i.e. a newspaper entry is meant to inform and/or persuade, and a movie script is meant to entertain.
• Basically, each genre has a specific task or a specific goal that it is created to attain.
• Understanding Genre
• Understanding the Rhetorical Situation

To understand genre, one has to first understand the rhetorical situation of the communication. 

Below are some additional resources to assist you in this process:

• Reading and Writing for College

Genre Analysis

Genre analysis:  A tool used to create genre awareness and understand the conventions of new writing situations and contexts.  This a llows you to make effective communication choices and approach your audience and rhetorical situation appropriately

Basically, when we say "genre analysis," that is a fancy way of saying that we are going to look at similar pieces of communication - for example a handful of business memos - and determine the following:

• Tone: What was the overall tone of voice in the samples of that genre (piece of writing)?
• Diction : What was the overall type of writing in the three samples of that genre (piece of writing)? Formal or informal?
•   Content : What types(s) of information is shared in those pieces of writing?
•   Style / Format (the way it looks): Do the pieces of communication contain long or short sentences? Bulleted list? Paragraphs? Abbreviations? Does punctuation and grammar matter? How detailed do you need to be in that type of writing style? Single-spaced or double-spaced? Are pictures included? If so, why? How long does it need to be / should be? What kind of organizational requirements are there?
•   Expected Medium of Genre : Where did the pieces appear? Were they online? Where? Were they in a printed, physical context? If so, what?
•   Audience:   What audience is this piece of writing trying to reach?
• Purpose :  What is the goal of the piece of writing? What is its purpose? Example: the goal of the piece that is written, i.e. a newspaper entry is meant to inform and/or persuade, and a movie script is meant to entertain.

In other words, we are analyzing the genre to determine what are some commonalities of that piece of communication. 

For additional help, see the following resource for Questions to Ask When Completing a Genre Analysis . 

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Conducting a Genre Analysis

Genre analysis.

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Brian Hendrickson, PhD

What is Genre?

“Wanna go to a movie this weekend?” a friend asks you. “One just came out in theaters that everyone’s talking about.”

You like movies. Who doesn’t? You also like watching movies in the theater. Popcorn, soda, candy, jumbo screen, and those comfy leather reclining chairs at the new theater—what’s not to like?

Still you ask, “What’s the movie?” because you might not want to pay the theater price if it’s not the kind of movie you enjoy.  And maybe some movies are the kind you’d see in the theaters on a date, but not with a friend. Maybe you’re a loud crier or easily startled and don’t like making a scene, in which case you might choose to see cry-or scare-inducing movies at home.

In any case, before your friend has even had a chance to respond, you’ve already begun assigning a complex set of expectations to deciding whether or not you will go to this movie with your friend, and you have constructed that set of expectations over a number of years and across a diverse range of movie-watching experiences.

So when your friend says they can’t remember the exact name of the movie, you might respond by asking, “Well, what type of movie is it?”

“It’s a horror movie,” they reply and, depending on your interest in or knowledge of horror movies, you might respond, “What sort of horror movie?” After all, horror movies can be broken down into slashers, hauntings, or psychological thrillers, to name a few. What makes them all horror is they’re all supposed to scare you, though the kind of fear they induce might differ.  But despite their variations, they do all follow a similar plot: a protagonist transgresses some invisible boundary—a woods they shouldn’t have camped in, a door they shouldn’t have opened—and encounters a force that defies the laws of reason, nature, ethics, and/or religion. That force, whether a deranged killer or evil spirit, challenges the protagonist’s understanding of their own reality to such an extent that they risk losing their mind, if not their life. To survive with body and mind intact, the protagonist must make sense of that which appears to defy sense-making and restore order.

When your friend finally reveals that the movie they’re recommending the two of you go see is a haunting, you pretty much know what to expect—even down to how you expect to be surprised. However, if the movie takes a completely unexpected turn and ends up not being a haunting at all but an alien invasion, it’s possible that if done in just the right way, you might appreciate how the creators of the movie played with your expectations.

Regardless of how the movie turns out, your expectations were all grounded in your understanding of genre : the typical set of functions and features that form when communication occurs within a similar set of circumstances over time. Movies, after all, are a form of communication, and they are viewed and riffed upon by filmmakers and movie watchers alike, all within particular cultures with their own values and beliefs. Even if you aren’t a fan of horror films, you still probably know quite a lot about the genres and subgenres of horror movies because they are such an important part of popular culture.

As with movies, you also know a lot about genres of writing. In your other college writing classes, you may have already started thinking about what you were reading and writing in terms of genre. Before then, you were likely familiar with literary genres, whether dystopian novels like 1984 , tragic plays like Romeo and Juliet , or epic poems like The Odyssey . But as you probably discovered in How Writing Works , genres don’t have to be works of art, and most of the writing you do is not meant to display your artistic genius. Texts, tweets, grocery lists, menus, resumes, lecture notes, reports, and research papers—these are all genres of writing, too. Each possesses a typical set of functions and features that accomplish particular goals within particular contexts. And they all have formed over time to meet the rhetorical and communicative needs and expectations of particular discourse communities.

So if you’re designing a menu for, say, an upscale Asian fusion restaurant, you’re probably thinking about what sort of menu design would most effectively capture the spirit of the restaurant and appeal to the kinds of patrons you want to attract. Furthermore, even if you’ve eaten at hundreds of Asian fusion restaurants before, you would probably spend some time researching their menus online, analyzing and evaluating each one to identify the features that work and the ones that don’t. Afterward, you’re likely to try to emulate the best qualities of the best menus while nevertheless trying to design a menu that looks uniquely your own.

By now, you can see that analyzing and evaluating genres to effectively communicate your purpose is something everyone does almost instinctively. But watching and understanding a movie is not the same thing as knowing how to direct a film. Writers, like directors, need to know the components of the genre they are working with so they can to put those components together in recognizable ways.

The point is, when it comes to much of the writing you will be doing in academic, professional, and public contexts, learning to write well means learning to recognize different genres of writing, their various shapes and purpose, and the audience expectations that come with them. Whether it’s an email, report, resume, blog post, tweet, or essay—composing any type of text begins with genre awareness.

Some Tips on Analyzing and Evaluating Genres

• An analysis explains how something works by breaking it down into its component parts, and genre analysis is no different.
• You can’t explain how a genre works by considering only its features. You also have to consider its functions, or how particular examples of a particular genre are “taken up” by particular people for particular reasons within particular cultural and historical contexts.
• You’re not just analyzing the text of the genre but the context: the values, beliefs, and material conditions that shape a genre’s features and functions over time.
• A genre is in many respects a complex living organism that exists in a dynamic relationship with its environment. Your analysis of a given genre should take that relationship into account, and it should keep in mind that like any other organism, a genre either evolves to respond to changes in its environment, or it dies.
• Sometimes, it’s difficult to understand how something works until it stops working. Consider that you probably don’t think much about your pancreas, unless your pancreas isn’t producing enough insulin to help your body process sugar. In fact, you might not even know that’s what your pancreas does unless you have diabetes. Similarly, it can be helpful to look not just at effective examples of a particular genre but at ineffective ones, too. This is where evaluation comes into play: it can help you understand not just how a particular genre works but why, or, in the case of an ineffective example, why not.

Additional Information

What is a genre: a literary guide for english students and teachers.

Activity: Academic Genres Brainstorm

Make a table with two columns. In the first column, make a list of writing assignments you have had to do for classes directly related to your major. For example, if your major is economics, in this column you would list the writing assignments you have done in your economics classes. In the second column, make a list of writing assignments you have had to do for your other classes.

Then answer these questions:

• What similarities do you notice in the types of writing in the left column? Be specific.
• Are there similarities between the writings in the left and right columns? What are they?
• Genre. By : Brian Hendrickson, Roger Williams University Department of Writing Studies, Rhetoric, Composition. Located at : https://rwu.pressbooks.pub/wtng225/chapter/genre/  Project : Introduction to Professional and Public Writing. License :  CC BY NC SA
• Activity added by Stephanie Frame

Genre Copyright © 2023 by Brian Hendrickson, PhD is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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14.3 Methods for Studying Genres

The previous section outlined some key terms and definitions for the study of writing. This section builds on that by providing an overview of research tools that can be used to better understand writing-in-context. Some of these tools–like an interview–may seem more familiar to you than others (such as genre analysis). At the same time, an activity you probably engage in every day–observation–achieves importance when done in the context of research and analysis.

There is no one right way to “do” writing research. Choosing the right tools depends on what it is you hope to learn. As you study a genre, whether it is a resume, a report, a procedural, or a complaint letter, think creatively about which of the following methods might help you learn more about it.

Genre/Textual Analysis

If genres are the key object of study for writing researchers, then genre analysis is the key tool for studying those objects–for unlocking their meaning. While it is true that we can learn a great deal about genres by observing people using them and even asking their users about them (which I detail in the next section), there is often important meaning that goes unnoticed by the producers and users of a genre. This meaning is what writing researchers try to access by studying the genres themselves. To put it another way, genres often have embedded in them a kind of code or shorthand that can reveal important information about the context in which they are used. As someone learning to write in that context, such information can help you to advance in your writing skills more quickly.

So how do writing researchers do this analysis? In short, genre analysis involves picking apart and noting the various features of a particular text in order to figure out what they mean (i.e., why they are significant) for the people who use that genre. In that sense, writing researchers act as detectives, revealing clues in order to then piece them all together and generate a cohesive story about what those clues mean.

It probably will not surprise you to know that, once again, curiosity plays an important role in conducting genre analysis. While it can be tempting when looking at a text to think there is not much to say about it (this is especially true when you take something as everyday as your grocery list or the menu at a coffee shop), when we begin to ask questions, the complexity of a text (and the genre it represents) is pretty quickly revealed.

A precursor to genre analysis is what researchers call “document collection.” While it is true that the more samples of a genre you find the more reliable and extensive your analysis can and will be, analyzing even one text can reveal a great deal. So, if genre analysis sounds kind of overwhelming or challenging, start by looking at a single sample text rather than many.

The following questions can get you thinking about (and taking notes on) how you would describe a sample text, by focusing on its content , its form , and its presentation :

• Who and what is referenced in the document?
• What information is included in the document? How much?
• What is the rhetorical purpose of the document?
• How is information organized, from beginning to end? In other words, what appears where?
• What kinds of sentences are used (questions, statements, commands, etc.)?
• What do you notice about the kind of language that is used?
• How would you describe the tone of the writing?
• How does the text use rhetorical appeals (ethos, pathos, logos)?
• Are section headings used in the document?
• Does the document include text only, or text and images? What is the layout like?
• What font size and style is used?
• How would you describe the “look” of the document?

Figure 1 provides a sample police incident report and is followed by some notes you would be likely to make based on the suggested questions above. Alternate formats:  Word version of incident report ;  PDF version of incident report .

Case Study, Part One: Notes on the Incident Report

• When the incident occurred
• Where the incident occurred
• Who was involved
• How many were involved
• Who was interviewed
• What happened (narrative)
• Which precinct is responsible for investigating
• Type of incident, people involved (victims/suspects), and location
• Filing information (case and incident numbers)
• Three distinct sections
• Logistical info appears first, “associated persons” appears second, narrative of the event appears third
• Narrative uses simple declarative statements, typically with people occupying the place of subject
• Use of verbs is active but primarily neutral, with a focus on communication that transpired (“responded,” “spoke,” “admitted,” “realized,” “advised”), with two instances of the use of passive voice (“was advised”)
• Narrative is described with a neutral tone and feels formal
• Focus of narrative is on actions taken that
• Narrative is described in chronological order, beginning with officer responding to incident, moving through the incident, and providing information on follow-up
• Items used for referential or filing reasons are numbered
• Information is organized into boxes and tables
• Each section is clearly labeled
• Abbreviations are used throughout
• Report is typed

After you have answered these questions, it is time to start looking for patterns and connections that will help you draw conclusions about what these features mean. Doing so involves a kind of creative thinking that is best done by someone who has been involved in studying or practicing the profession under investigation. Generally speaking, it is best to give some consideration to how the features of a particular genre might be connected to goals, objectives, and values of a particular position, organization, and/or context, since it is that context that produced the need for that genre in the first place.

Case Study, Part Two: Analysis of the Incident Report

The content, form, and presentation of the police incident report form work together to present a verifiable , objective account. Used internally, the design of the form helps to create uniformity by directing the officer to include the information that is likely to prove most salient for police purposes and for easy retrieval should future incidents occur. This streamlined approach to documentation keeps the focus on material and factual evidence, which clearly relates to the fact that this is a document that may be used in a legal context.

Generally speaking, a document that pays little attention to design, but has a great deal of detailed content, might derive from a situation where people place heavy emphasis on the development of ideas but don’t necessarily need to act on those ideas; on the other hand, if a document makes heavy use of section headings in order to direct the reader more carefully, it might suggest a need for greater efficiency of time and/or a number of readers with different background knowledge. Of course, there are genres that will do both: include a great number of complex ideas, neatly organized into easily accessible sections. No matter what you find, there is an interpretation to be discovered and explained with evidence from the text itself. The connecting of evidence to interpretation/conclusion is genre analysis.

[ Genre Analysis Essay video without captions ;  Genre Analysis Essay video with captions ]

Interviewing is something that happens informally all the time when we query colleagues or supervisors about how to write in a new genre. But a formal interview is a particular kind of research method that takes a bit of practice and can be quite difficult if you have never done it before. With a question we ask of a colleague, we usually have something very specific we want to know, but as a research method, interviews are usually used in order to answer a research question –and it is that distinction that you need to keep in mind.

A good research question, as you may have already learned in other college-level classes, does not have an easy answer. In fact, it usually does not have a single answer either; instead, it is a question that requires interpretation and that might be answered differently depending on who you ask. That said, it is answerable, meaning that given the right collection of evidence, you would be able to craft a response of some kind. In writing research, the interview is one way to collect just such evidence, since talking to someone about how, when, and why they use writing in their profession can provide all kinds of insight that you might miss if you were to analyze a text all by itself. Typically, these kinds of questions (of the “how,” “when,” and “why” variety) help writing researchers to understand the particular importance of writing to a specific profession, industry, organization, or even economy.

It is not uncommon for people in workplace settings not to realize just how much writing is a part of their everyday work practices. In the course of being asked questions, though, they often reveal the way that writing helps them accomplish their jobs successfully and make sure the company or organization runs effectively and achieves its goals. This is true whether you are interviewing a doctor, a firefighter, a restaurant manager, an electrician, a politician, a general contractor, or a computer specialist.

Here are some general advice and reminders for getting organized to conduct an interview:

• Practice good manners when scheduling the interview. This is an opportunity to practice being professional in your communication: everything you know about audience analysis should come into play as you request someone’s time and input.
• Be sure to practice your interview questions ahead of time. Questions that seem straightforward to you might not be clear to someone else; alternatively, they might clearly call for a different kind of answer than what you anticipated. The best way to know is to practice them on someone who is not your intended interviewee. Then, revise accordingly.
• Request permission to record the interview. You will be glad to have a record to return to if your interviewee says yes. Whether or not you record the interview, though, be sure to take notes in the interview (this is something you can and should practice in your practice interview as well). Recording devices can fail; writing during the interview can also help you to focus on what your interviewee is saying and to think of new, sometimes clarifying questions, as the interview proceeds.

Observation

Another powerful research tool is simply observing where the writing of a particular profession takes place. The values of a company or organization, the expectations they hold for their employees and various working conditions are often on display if you only look for them. For example:

• Is the workplace open to the public, or does it require secure entry?
• Do people work in offices or cubicles? Or maybe there is no individual work space at all?
• How many meeting rooms are there? How big are they?
• Are people milling around, or are they mostly on computers?
• How is the workplace decorated?
• What is the dress code?

The answers to these questions can lead to new insight regarding how genres are used and produced and help develop new questions for you to consider. Furthermore, observation also helps with imagining texts in use, which is so crucial to an effective analysis of your audience.

Genre Ecology Maps

A Genre Ecology Map, or GEM, is a visual representation of genres in action, interacting with one another. Let’s consider an earlier example: the job description. We could explain, using words, that the job description leads to job applications, which (often) lead to interviews and background checks, the hiring of an individual and all the associated paperwork, as well as training materials. But if we wanted to represent that visually, it would look something like Figure 2. Alternate formats:  Word version of Job Application GEM ;  PDF version of Job Application GEM .

All of a sudden, with a visual illustration, we have a slightly different understanding of the complexity involved in the production and circulation of different kinds of writing. Figure 3 provides another example, one that captures the intersection of different writers, positions, and stakeholders (put another way: the intersection of different genre sets in the college classroom). Alternate formats:  Word version of Classroom GEM ;  PDF version of Classroom GEM .

Particularly if you are a visual learner, maps like those above can help you to “see” genres in a way you might not otherwise and to reinforce what I have noted in sections above about how writing is not static but actually performs “actions” in various workplace settings.

CHAPTER ATTRIBUTION INFORMATION

This chapter was written by Allison Gross, Portland Community College, and is licensed  CC-BY 4.0 .

Technical Writing Copyright © 2017 by Allison Gross, Annemarie Hamlin, Billy Merck, Chris Rubio, Jodi Naas, Megan Savage, and Michele DeSilva is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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7.3 Glance at Genre: Criteria, Evidence, Evaluation

Learning outcomes.

By the end of this section, you will be able to:

• Identify and define common characteristics, mediums, key terms, and features of the review genre.
• Identify criteria and evidence to support reviews of different primary sources.

Reviews vary in style and content according to the subject, the writer, and the medium. The following are characteristics most frequently found in reviews:

• Focused subject : The subject of the review is specific and focuses on one item or idea. For example, a review of all Marvel Cinematic Universe movies could not be contained in the scope of a single essay or published review not only because of length but also because of the differences among them. Choosing one specific item to review—a single film or single topic across films, for instance—will allow you to provide a thorough evaluation of the subject.
• Judgment or evaluation: Reviewers need to deliver a clear judgment or evaluation to share with readers their thoughts on the subject and why they would or would not recommend it. An evaluation can be direct and explicit, or it can be indirect and subtle.
• Specific evidence : All reviews need specific evidence to support the evaluation. Typically, this evidence comes in the form of quotations and vivid descriptions from the primary source, or subject of the review. Reviewers often use secondary sources —works about the primary source — to support their claims or provide context.
• Context : Reviewers provide context, such as relevant historical or cultural background, current events, or short biographical sketches, that help readers understand both the primary source and the review.
• Tone : Writers of effective reviews tend to maintain a professional, unbiased tone—attitude toward the subject. Although many reviewers try to avoid sarcasm and dismissiveness, you will find these elements present in professional reviews, especially those in which critics pan the primary source.

These are some key terms to know and use when writing a review:

• Analysis : detailed examination of the parts of a whole or of the whole itself.
• Connotation: implied feelings or thoughts associated with a word. Connotations can be positive or negative. Reviewers often use words with strong positive or negative connotations that support their praise or criticism. For example, a writer may refer to a small space positively as “cozy” instead of negatively as “cramped.”
• Criteria : standards by which something is judged. Reviewers generally make their evaluation criteria clear by listing and explaining what they are basing their review on. Each type of primary source has its set of standards, some or all of which reviewers address.
• Critics : professional reviewer who typically publishes reviews in well-known publications.
• Denotation : the literal or dictionary definition of a word.
• Evaluation : judgment based on analysis.
• Fandom : community of admirers who follow their favorite works and discuss them online as a group.
• Genre : broad category of artistic compositions that share similar characteristics such as form, subject matter, or style. For example, horror, suspense, and drama are common film and literary genres. Hip hop and reggae are common music genres.
• Medium : way in which a work is created or delivered (DVD, streaming, book, vinyl, etc.). Works can appear in more than one medium.
• Mode : sensory method through which a person interacts with a work. Modes include linguistic, visual, audio, spatial, and gestural.
• Primary Sources : in the context of reviewing, the original work or item being reviewed, whether a film, book, performance, business, or product. In the context of research, primary sources are items of firsthand, or original, evidence, such as interviews, court records, diaries, letters, surveys, or photographs.
• Recap : summary of an individual episode of a television series.
• Review : genre that evaluates performances, exhibitions, works of art (books, movies, visual arts), services, and products
• Secondary source: source that contains the analysis or synthesis of someone else, such as opinion pieces, newspaper and magazine articles, and academic journal articles.
• Subgenre : category within a genre. For example, subgenres of drama include various types of drama: courtroom drama, historical/costume drama, and family drama.

Establishing Criteria

All reviewers and readers alike rely on evidence to support an evaluation. When you review a primary source, the evidence you use depends on the subject of your evaluation, your audience, and how your audience will use your evaluation. You will need to determine the criteria on which to base your evaluation. In some cases, you will also need to consider the genre and subgenre of your subject to determine evaluation criteria. In your review, you will need to clarify your evaluation criteria and the way in which specific evidence related to those criteria have led you to your judgment. Table 7.1 illustrates evaluation criteria in four different primary source types.

Even within the same subject, however, evaluation criteria may differ according to the genre and subgenre of the film. Audiences have different expectations for a horror movie than they do for a romantic comedy, for example. For your subject, select the evaluation criteria on the basis of your knowledge of audience expectations. Table 7.2 shows how the evaluation criteria might be different in film reviews of different genres.

Providing Objective Evidence

You will use your established evaluation criteria to gather specific evidence to support your judgment. Remember, too, that criteria are fluid; no reviewer will always use the same criteria for all works, even those in the same genre or subgenre.

Whether or not the criteria are unique to the particular task, a reviewer must look closely at the subject and note specific details from the primary source or sources. If you are evaluating a product, look at the product specifications and evaluate product performance according to them, noting details as evidence. When evaluating a film, select either quotations from the dialogue or detailed, vivid descriptions of scenes. If you are evaluating an employee’s performance, observe the employee performing their job and take notes. These are examples of primary source evidence: raw information you have gathered and will analyze to make a judgment.

Gathering evidence is a process that requires you to look closely at your subject. If you are reviewing a film, you certainly will have to view the film several times, focusing on only one or two elements of the evaluation criteria at a time. If you are evaluating an employee, you might have to observe that employee on several occasions and in a variety of situations to gather enough evidence to complete your evaluation. If you are evaluating a written argument, you might have to reread the text several times and annotate or highlight key evidence. It is better to gather more evidence than you think you need and choose the best examples rather than try to base your evaluation on insufficient or irrelevant evidence.

Modes of Reviews

Not all reviews have to be written; sometimes a video or an audio review can be more engaging than a written review. YouTube has become a popular destination for project reviews, creating minor celebrities out of popular reviewers. However, a written review of a movie might work well because the reviewer can provide just enough information to avoid spoiling the movie, whereas some reviews require more visual interaction to understand.

Take reviewer Doug DeMuro ’s popular YouTube channel. DeMuro reviews cars—everything from sports cars to sedans to vintage cars. Car buyers need to interact with a car to want to buy it, and YouTube provides the next best thing by giving viewers an up-close look.

Technology is another popular type of review on YouTube. YouTube creators like Marques Brownlee discuss rumors about the next Apple iPhone or Samsung Galaxy and provide unboxing videos to record their reactions to the latest phones and laptops. Like DeMuro’s viewers, Brownlee’s audience can get up close to the product. Seeing a phone in Brownlee’s hands helps audience members imagine it in their hands.

On the other hand, reviews don’t always need to be about products you can touch, as Paul Lucas demonstrates on his YouTube channel “Wingin’ It!” Lucas reviews travel experiences (mainly airlines and sometimes trains), evaluating the service of airlines around the world and in various ticket classes.

What do these reviews have in common? First, they are all in the video medium. YouTube ’s medium is video; a podcast’s medium is audio. They also share a mode. YouTube ’s mode is viewing or watching; a podcast’s mode is listening.

These examples all use the genre conventions of reviews discussed in this chapter. The reviewers present a clear evaluation: should you buy this car, phone, or airline ticket? They base their evaluation on evidence that fits a set of evaluation criteria. Doug DeMuro might evaluate a family sedan on the basis of seating, trunk storage, and ride comfort. Marques Brownlee might judge a phone on the basis of battery life, design, and camera quality. Paul Lucas might grade an airline on service, schedules, and seat comfort. While the product or service being reviewed might be different, all three reviewers use similar frameworks.

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Organizing Your Analysis

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This resource covers how to write a rhetorical analysis essay of primarily visual texts with a focus on demonstrating the author’s understanding of the rhetorical situation and design principles.

There is no one perfect way to organize a rhetorical analysis essay. In fact, writers should always be a bit leery of plug-in formulas that offer a perfect essay format. Remember, organization itself is not the enemy, only organization without considering the specific demands of your particular writing task. That said, here are some general tips for plotting out the overall form of your essay.

Introduction

Like any rhetorical analysis essay, an essay analyzing a visual document should quickly set the stage for what you’re doing. Try to cover the following concerns in the initial paragraphs:

• Make sure to let the reader know you’re performing a rhetorical analysis. Otherwise, they may expect you to take positions or make an evaluative argument that may not be coming.
• Clearly state what the document under consideration is and possibly give some pertinent background information about its history or development. The intro can be a good place for a quick, narrative summary of the document. The key word here is “quick, for you may be dealing with something large (for example, an entire episode of a cartoon like the Simpsons). Save more in-depth descriptions for your body paragraph analysis.
• If you’re dealing with a smaller document (like a photograph or an advertisement), and copyright allows, the introduction or first page is a good place to integrate it into your page.
• Give a basic run down of the rhetorical situation surrounding the document: the author, the audience, the purpose, the context, etc.

Thesis Statements and Focus

Many authors struggle with thesis statements or controlling ideas in regards to rhetorical analysis essays. There may be a temptation to think that merely announcing the text as a rhetorical analysis is purpose enough. However, especially depending on your essay’s length, your reader may need a more direct and clear statement of your intentions. Below are a few examples.

1. Clearly narrow the focus of what your essay will cover. Ask yourself if one or two design aspects of the document is interesting and complex enough to warrant a full analytical treatment.

The website for Amazon.com provides an excellent example of alignment and proximity to assist its visitors in navigating a potentially large and confusing amount of information.

2. Since visual documents often seek to move people towards a certain action (buying a product, attending an event, expressing a sentiment), an essay may analyze the rhetorical techniques used to accomplish this purpose. The thesis statement should reflect this goal.

The call-out flyer for the Purdue Rowing Team uses a mixture of dynamic imagery and tantalizing promises to create interest in potential, new members.

3. Rhetorical analysis can also easily lead to making original arguments. Performing the analysis may lead you to an argument; or vice versa, you may start with an argument and search for proof that supports it.

A close analysis of the female body images in the July 2007 issue of Cosmopolitan magazine reveals contradictions between the articles’ calls for self-esteem and the advertisements’ unrealistic, beauty demands.

These are merely suggestions. The best measure for what your focus and thesis statement should be the document itself and the demands of your writing situation. Remember that the main thrust of your thesis statement should be on how the document creates meaning and accomplishes its purposes. The OWl has additional information on writing thesis statements.

Analysis Order (Body Paragraphs)

Depending on the genre and size of the document under analysis, there are a number of logical ways to organize your body paragraphs. Below are a few possible options. Which ever you choose, the goal of your body paragraphs is to present parts of the document, give an extended analysis of how that part functions, and suggest how the part ties into a larger point (your thesis statement or goal).

Chronological

This is the most straight-forward approach, but it can also be effective if done for a reason (as opposed to not being able to think of another way). For example, if you are analyzing a photo essay on the web or in a booklet, a chronological treatment allows you to present your insights in the same order that a viewer of the document experiences those images. It is likely that the images have been put in that order and juxtaposed for a reason, so this line of analysis can be easily integrated into the essay.

Be careful using chronological ordering when dealing with a document that contains a narrative (i.e. a television show or music video). Focusing on the chronological could easily lead you to plot summary which is not the point of a rhetorical analysis.

A spatial ordering covers the parts of a document in the order the eye is likely to scan them. This is different than chronological order, for that is dictated by pages or screens where spatial order concerns order amongst a single page or plane. There are no unwavering guidelines for this, but you can use the following general guidelines.

• Left to right and top to down is still the normal reading and scanning pattern for English-speaking countries.
• The eye will naturally look for centers. This may be the technical center of the page or the center of the largest item on the page.
• Lines are often used to provide directions and paths for the eye to follow.
• Research has shown that on web pages, the eye tends to linger in the top left quadrant before moving left to right. Only after spending a considerable amount of time on the top, visible portion of the page will they then scroll down.

Persuasive Appeals

The classic, rhetorical appeals are logos, pathos, and ethos. These concepts roughly correspond to the logic, emotion, and character of the document’s attempt to persuade. You can find more information on these concepts elsewhere on the OWL. Once you understand these devices, you could potentially order your essay by analyzing the document’s use of logos, ethos, and pathos in different sections.

The conclusion of a rhetorical analysis essay may not operate too differently from the conclusion of any other kind of essay. Still, many writers struggle with what a conclusion should or should not do. You can find tips elsewhere on the OWL on writing conclusions. In short, however, you should restate your main ideas and explain why they are important; restate your thesis; and outline further research or work you believe should be completed to further your efforts.

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• Comparative Analysis

What It Is and Why It's Useful

Comparative analysis asks writers to make an argument about the relationship between two or more texts. Beyond that, there's a lot of variation, but three overarching kinds of comparative analysis stand out:

• Coordinate (A ↔ B): In this kind of analysis, two (or more) texts are being read against each other in terms of a shared element, e.g., a memoir and a novel, both by Jesmyn Ward; two sets of data for the same experiment; a few op-ed responses to the same event; two YA books written in Chicago in the 2000s; a film adaption of a play; etc. 
• Subordinate (A  → B) or (B → A ): Using a theoretical text (as a "lens") to explain a case study or work of art (e.g., how Anthony Jack's The Privileged Poor can help explain divergent experiences among students at elite four-year private colleges who are coming from similar socio-economic backgrounds) or using a work of art or case study (i.e., as a "test" of) a theory's usefulness or limitations (e.g., using coverage of recent incidents of gun violence or legislation un the U.S. to confirm or question the currency of Carol Anderson's The Second ).
• Hybrid [A  → (B ↔ C)] or [(B ↔ C) → A] , i.e., using coordinate and subordinate analysis together. For example, using Jack to compare or contrast the experiences of students at elite four-year institutions with students at state universities and/or community colleges; or looking at gun culture in other countries and/or other timeframes to contextualize or generalize Anderson's main points about the role of the Second Amendment in U.S. history.

"In the wild," these three kinds of comparative analysis represent increasingly complex—and scholarly—modes of comparison. Students can of course compare two poems in terms of imagery or two data sets in terms of methods, but in each case the analysis will eventually be richer if the students have had a chance to encounter other people's ideas about how imagery or methods work. At that point, we're getting into a hybrid kind of reading (or even into research essays), especially if we start introducing different approaches to imagery or methods that are themselves being compared along with a couple (or few) poems or data sets.

Why It's Useful

In the context of a particular course, each kind of comparative analysis has its place and can be a useful step up from single-source analysis. Intellectually, comparative analysis helps overcome the "n of 1" problem that can face single-source analysis. That is, a writer drawing broad conclusions about the influence of the Iranian New Wave based on one film is relying entirely—and almost certainly too much—on that film to support those findings. In the context of even just one more film, though, the analysis is suddenly more likely to arrive at one of the best features of any comparative approach: both films will be more richly experienced than they would have been in isolation, and the themes or questions in terms of which they're being explored (here the general question of the influence of the Iranian New Wave) will arrive at conclusions that are less at-risk of oversimplification.

For scholars working in comparative fields or through comparative approaches, these features of comparative analysis animate their work. To borrow from a stock example in Western epistemology, our concept of "green" isn't based on a single encounter with something we intuit or are told is "green." Not at all. Our concept of "green" is derived from a complex set of experiences of what others say is green or what's labeled green or what seems to be something that's neither blue nor yellow but kind of both, etc. Comparative analysis essays offer us the chance to engage with that process—even if only enough to help us see where a more in-depth exploration with a higher and/or more diverse "n" might lead—and in that sense, from the standpoint of the subject matter students are exploring through writing as well the complexity of the genre of writing they're using to explore it—comparative analysis forms a bridge of sorts between single-source analysis and research essays.

Typical learning objectives for single-sources essays: formulate analytical questions and an arguable thesis, establish stakes of an argument, summarize sources accurately, choose evidence effectively, analyze evidence effectively, define key terms, organize argument logically, acknowledge and respond to counterargument, cite sources properly, and present ideas in clear prose.

Common types of comparative analysis essays and related types: two works in the same genre, two works from the same period (but in different places or in different cultures), a work adapted into a different genre or medium, two theories treating the same topic; a theory and a case study or other object, etc.

How to Teach It: Framing + Practice

Framing multi-source writing assignments (comparative analysis, research essays, multi-modal projects) is likely to overlap a great deal with "Why It's Useful" (see above), because the range of reasons why we might use these kinds of writing in academic or non-academic settings is itself the reason why they so often appear later in courses. In many courses, they're the best vehicles for exploring the complex questions that arise once we've been introduced to the course's main themes, core content, leading protagonists, and central debates.

For comparative analysis in particular, it's helpful to frame assignment's process and how it will help students successfully navigate the challenges and pitfalls presented by the genre. Ideally, this will mean students have time to identify what each text seems to be doing, take note of apparent points of connection between different texts, and start to imagine how those points of connection (or the absence thereof)

• complicates or upends their own expectations or assumptions about the texts
• complicates or refutes the expectations or assumptions about the texts presented by a scholar
• confirms and/or nuances expectations and assumptions they themselves hold or scholars have presented
• presents entirely unforeseen ways of understanding the texts

—and all with implications for the texts themselves or for the axes along which the comparative analysis took place. If students know that this is where their ideas will be heading, they'll be ready to develop those ideas and engage with the challenges that comparative analysis presents in terms of structure (See "Tips" and "Common Pitfalls" below for more on these elements of framing).

Like single-source analyses, comparative essays have several moving parts, and giving students practice here means adapting the sample sequence laid out at the " Formative Writing Assignments " page. Three areas that have already been mentioned above are worth noting:

• Gathering evidence : Depending on what your assignment is asking students to compare (or in terms of what), students will benefit greatly from structured opportunities to create inventories or data sets of the motifs, examples, trajectories, etc., shared (or not shared) by the texts they'll be comparing. See the sample exercises below for a basic example of what this might look like.
• Why it Matters: Moving beyond "x is like y but also different" or even "x is more like y than we might think at first" is what moves an essay from being "compare/contrast" to being a comparative analysis . It's also a move that can be hard to make and that will often evolve over the course of an assignment. A great way to get feedback from students about where they're at on this front? Ask them to start considering early on why their argument "matters" to different kinds of imagined audiences (while they're just gathering evidence) and again as they develop their thesis and again as they're drafting their essays. ( Cover letters , for example, are a great place to ask writers to imagine how a reader might be affected by reading an their argument.)
• Structure: Having two texts on stage at the same time can suddenly feel a lot more complicated for any writer who's used to having just one at a time. Giving students a sense of what the most common patterns (AAA / BBB, ABABAB, etc.) are likely to be can help them imagine, even if provisionally, how their argument might unfold over a series of pages. See "Tips" and "Common Pitfalls" below for more information on this front.

Sample Exercises and Links to Other Resources

• Common Pitfalls
• Advice on Timing
• Try to keep students from thinking of a proposed thesis as a commitment. Instead, help them see it as more of a hypothesis that has emerged out of readings and discussion and analytical questions and that they'll now test through an experiment, namely, writing their essay. When students see writing as part of the process of inquiry—rather than just the result—and when that process is committed to acknowledging and adapting itself to evidence, it makes writing assignments more scientific, more ethical, and more authentic. 
• Have students create an inventory of touch points between the two texts early in the process.
• Ask students to make the case—early on and at points throughout the process—for the significance of the claim they're making about the relationship between the texts they're comparing.
• For coordinate kinds of comparative analysis, a common pitfall is tied to thesis and evidence. Basically, it's a thesis that tells the reader that there are "similarities and differences" between two texts, without telling the reader why it matters that these two texts have or don't have these particular features in common. This kind of thesis is stuck at the level of description or positivism, and it's not uncommon when a writer is grappling with the complexity that can in fact accompany the "taking inventory" stage of comparative analysis. The solution is to make the "taking inventory" stage part of the process of the assignment. When this stage comes before students have formulated a thesis, that formulation is then able to emerge out of a comparative data set, rather than the data set emerging in terms of their thesis (which can lead to confirmation bias, or frequency illusion, or—just for the sake of streamlining the process of gathering evidence—cherry picking). 
• For subordinate kinds of comparative analysis , a common pitfall is tied to how much weight is given to each source. Having students apply a theory (in a "lens" essay) or weigh the pros and cons of a theory against case studies (in a "test a theory") essay can be a great way to help them explore the assumptions, implications, and real-world usefulness of theoretical approaches. The pitfall of these approaches is that they can quickly lead to the same biases we saw here above. Making sure that students know they should engage with counterevidence and counterargument, and that "lens" / "test a theory" approaches often balance each other out in any real-world application of theory is a good way to get out in front of this pitfall.
• For any kind of comparative analysis, a common pitfall is structure. Every comparative analysis asks writers to move back and forth between texts, and that can pose a number of challenges, including: what pattern the back and forth should follow and how to use transitions and other signposting to make sure readers can follow the overarching argument as the back and forth is taking place. Here's some advice from an experienced writing instructor to students about how to think about these considerations:

a quick note on STRUCTURE

     Most of us have encountered the question of whether to adopt what we might term the “A→A→A→B→B→B” structure or the “A→B→A→B→A→B” structure.  Do we make all of our points about text A before moving on to text B?  Or do we go back and forth between A and B as the essay proceeds?  As always, the answers to our questions about structure depend on our goals in the essay as a whole.  In a “similarities in spite of differences” essay, for instance, readers will need to encounter the differences between A and B before we offer them the similarities (A d →B d →A s →B s ).  If, rather than subordinating differences to similarities you are subordinating text A to text B (using A as a point of comparison that reveals B’s originality, say), you may be well served by the “A→A→A→B→B→B” structure.  

     Ultimately, you need to ask yourself how many “A→B” moves you have in you.  Is each one identical?  If so, you may wish to make the transition from A to B only once (“A→A→A→B→B→B”), because if each “A→B” move is identical, the “A→B→A→B→A→B” structure will appear to involve nothing more than directionless oscillation and repetition.  If each is increasingly complex, however—if each AB pair yields a new and progressively more complex idea about your subject—you may be well served by the “A→B→A→B→A→B” structure, because in this case it will be visible to readers as a progressively developing argument.

As we discussed in "Advice on Timing" at the page on single-source analysis, that timeline itself roughly follows the "Sample Sequence of Formative Assignments for a 'Typical' Essay" outlined under " Formative Writing Assignments, " and it spans about 5–6 steps or 2–4 weeks. 

Comparative analysis assignments have a lot of the same DNA as single-source essays, but they potentially bring more reading into play and ask students to engage in more complicated acts of analysis and synthesis during the drafting stages. With that in mind, closer to 4 weeks is probably a good baseline for many single-source analysis assignments. For sections that meet once per week, the timeline will either probably need to expand—ideally—a little past the 4-week side of things, or some of the steps will need to be combined or done asynchronously.

What It Can Build Up To

Comparative analyses can build up to other kinds of writing in a number of ways. For example:

• They can build toward other kinds of comparative analysis, e.g., student can be asked to choose an additional source to complicate their conclusions from a previous analysis, or they can be asked to revisit an analysis using a different axis of comparison, such as race instead of class. (These approaches are akin to moving from a coordinate or subordinate analysis to more of a hybrid approach.)
• They can scaffold up to research essays, which in many instances are an extension of a "hybrid comparative analysis."
• Like single-source analysis, in a course where students will take a "deep dive" into a source or topic for their capstone, they can allow students to "try on" a theoretical approach or genre or time period to see if it's indeed something they want to research more fully.
• DIY Guides for Analytical Writing Assignments

• Types of Assignments
• Unpacking the Elements of Writing Prompts
• Formative Writing Assignments
• Single-Source Analysis
• Research Essays
• Multi-Modal or Creative Projects
• Giving Feedback to Students

Assignment Decoder

How to Write an Analysis Essay: Examples + Writing Guide

An analysis / analytical essay is a standard assignment in college or university. You might be asked to conduct an in-depth analysis of a research paper, a report, a movie, a company, a book, or an event. In this article, you’ll find out how to write an analysis paper introduction, thesis, main body, and conclusion, and analytical essay example.

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So, what is an analytical essay? This type of assignment implies that you set up an argument and analyze it using a range of claims. The claims should be supported by appropriate empirical evidence. Note that you need to explore both the positive and negative sides of the issue fully.

Analytical skills are the key to getting through your academic career. Moreover, they can be useful in many real-life situations. Keep reading this article by Custom-writing experts to learn how to write an analysis!

❓ What Is an Analytical Essay?

• 🤔 Getting Started

📑 Analytical Essay Outline

• 📔 Choosing a Title
• 💁 Writing an Introduction
• 🏋 Writing a Body
• 🏁 Writing a Conclusion

🔗 References

Before you learn how to start an analysis essay, you should understand some fundamentals of writing this type of paper. It implies that you analyze an argument using a range of claims supported by facts . It is essential to understand that in your analysis essay, you’ll need to explore the negative sides of the issue and the positive ones. That’s what distinguishes an analytical essay from, say, a persuasive one.

These are the steps to write an academic paper :

• Review the literature . Before starting any paper, you should familiarize yourself with what has already been written in the field. And the analytical essay is no exception. The easiest way is to search on the web for the information.
• Brainstorm ideas. After you’ve done your search, it is time for a brainstorm! Make a list of topics for your analysis essay, and then choose the best one. Generate your thesis statement in the same way.
• Prepare an outline . Now, when you’ve decided on the topic and the thesis statement of your analytical essay, think of its structure. Below you will find more detailed information on how your paper should be structured.
• Write the first draft. You’ve done a lot of work by now. Congratulations! Your next goal is to write the first version of your analysis essay, using all the notes that you have. Remember, you don’t need to make it perfect!
• Polish your draft. Now take your time to polish and edit your draft to transform it into the paper’s final version.

You are usually assigned to analyze an article, a book, a movie, or an event. If you need to write your analytical essay on a book or an article, you’ll have to analyze the style of the text, its main points, and the author’s purported goals.

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🤔 Analytical Essay: Getting Started

The key to writing an analysis paper is to choose an argument that you will defend throughout it. For example: maybe you are writing a critical analysis paper on George Orwell’s Animal Farm The first and imperative task is to think about your thesis statement. In the case of Animal Farm , the argument could be:

In Orwell’s Animal Farm , rhetoric and language prove to be more effective ways to keep social control than physical power.

The University of North Carolina at Chapel Hill gives a great explanation of the thesis statement , how to create one, and what its function is.

But that’s not all. Once you have your thesis statement, you need to break down how you will approach your analysis essay to prove your thesis. To do this, follow these steps:

• Define the main goal(s) of your analysis . Remember that it is impossible to address each and every aspect in a single paper. Know your goal and focus on it.
• Conduct research , both online and offline, to clarify the issue contained within your thesis statement.
• Identify the main parts of the issue by looking at each part separately to see how it works.
• Try to clearly understand how each part works.
• Identify the links between the various aspects of the topic .
• By using the information you found, try to solve your main problem .

At this point, you should have a clear understanding of both the topic and your thesis statement. You should also have a clear direction for your analysis paper firmly planted in your mind and recorded in writing.

This will give you what you need to produce the paper’s outline.

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An outline is the starting point for your work. A typical analytical essay features the usual essay structure. A 500-word essay should consist of a one-paragraph introduction, a three-paragraph body, and a one-paragraph conclusion. Find below a great analytical essay outline sample. Feel free to use it as an example when doing your own work!

Analysis Essay: Introduction

• Start with a startling statement or provocative question.

“All animals are equal, but some animals are more equal”. Animal Farm abounds in ironic and provocative phrases to start an analytical essay.

• Introduce the work and its author.
• Give background information that would help the reader understand your opinion.
• Formulate a thesis statement informing the reader about the purpose of the essay. Essay format does not presuppose telling everything possible on the given topic. Thus, a thesis statement tells what you are going to say, implying what you will not discuss, establishing the limits.

In Animal Farm, Orwell uses different irony types to ridicule totalitarianism to manifest its inability to make every member of society equal and happy.

Analysis Essay: Body

The analytical essay structure requires 2-3 developmental paragraphs, each dedicated to one separate idea confirming your thesis statement. The following template should be used for each of the body paragraphs.

• Start with a topic sentence that supports an aspect of your thesis.

Dramatic irony is used in Animal Farm to point out society’s ignorance.

• Continue with textual evidence (paraphrase, summary, direct quotations, specific details). Use several examples that substantiate the topic sentence.

Animals are unaware of the fact that Boxer was never sent to the hospital. He was sent to the slaughterhouse. However, the reader and writer understand that this is a lie.

• Conclude with an explanation.

By allowing the readers to learn some essential facts before the characters, dramatic irony creates suspense and shows how easy it is to persuade and manipulate the public.

Analysis Essay Conclusion

The next four points will give you a short instruction on how to conclude an analytical essay.

• Never use new information or topics here.
• Restate your thesis in a different formulation.
• Summarize the body paragraphs.
• Comment on the analyzed text from a new perspective.

📔 Choosing a Title for Your Analysis Essay

Choosing a title seems like not a significant step, but it is actually very important. The title of your critical analysis paper should:

• Entice and engage the reader
• Be unique and capture the readers’ attention
• Provide an adequate explanation of the content of the essay in just a few carefully chosen words

In the Animal Farm example, your title could be:

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“How Do the Pigs Manage to Keep Social Control on Animal Farm?”

Analysis Essay Topics

• Analyze the media content.
• Analyze the specifics and history of hip-hop culture.
• Sociological issues in the film Interstellar .
• Discuss the techniques M. Atwood uses to describe social issues in her novel The Handmaid’s Tale .
• Compare and analyze the paintings of Van Gogh and George Seurat.
• Analysis of Edgar Allan Poe’s The Black Cat .
• Examine the juvenile crime rates.
• Describe the influence of different parenting styles on children’s mind.
• Analyze the concept of the Ship of Theseus .
• Compare and analyze the various views on intelligence .
• Analysis of The Yellow Wallpaper by Charlotte Perkins Gilman .
• Discuss the techniques used by W. Shakespeare in A Midsummer Night’s Dream .
• Analyze the biography of Frederic Chopin .
• Manifestation of the Chicano culture in the artwork An Ofrenda for Dolores del Rio .
• Similarities and differences of Roman, Anglo-Saxon, and Spanish Empires .
• Describe the problem of stalking and its impact on human mental health.
• Examine the future of fashion .
• Analyze the topicality of the article Effectiveness of Hand Hygiene Interventions in Reducing Illness Absence .
• Discuss Thomas Paine’s impact on the success of American revolution.
• Meaningful messages in Recitatif by Toni Morrison .
• Explore the techniques used by directors in the film Killing Kennedy .
• Compare the leadership styles of Tang Empress Wu Zetian and the Pharaoh Cleopatra .
• Evaluate the credibility of Kristof’s arguments in his article Remote Learning Is Often an Oxymoron .
• Analyze genetically modified food .
• Examine the influence of Europeans on Indian tribes in The Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson .
• Describe the rhetoric techniques used in The Portrait of Dorian Gray by Oscar Wilde .
• The importance of fighting against violence in communities in the documentary film The Interrupters .
• Analyze indoor and outdoor pollution .
• Analyze the issue of overprotective parenthood .
• Explore the connection between eating habits and advertisement.
• Discuss the urgence of global warming issue .
• Influence of sleep on people’s body and mental health.
• Analyze the relationship between Christianity and sports .
• Discuss the concept of leadership and its significance for company efficiency.
• Analyze the key lessons of the book Rich Dad Poor Dad by Robert Kiyosaki .
• Examine the specifics of nursing ethic .
• The theme of emotional sufferings in the short story A Rose for Emily .
• Analysis of bias in books for children .
• Analyze the rhetoric of the article Public Monuments .
• Describe the main messages in Jean-Paul Sartre’s Nausea .
• Explore the problem of structural racism in healthcare .
• The reasons of tango dance popularity.
• The shortcomings of the American educational system in Waiting for Superman.
• Analyze and compare Erin’s Law and Megan’s Law .
• Analyze the James Madison’s essay Federalist 10 .
• Examine symbols in the movie The Joker .
• Compare the thematic connection and stylistic devices in the poems The Road Not Taken and Find Your Way .
• Describe and analyze the life of Eddie Bernice Johnson .
• Explore the social classes in America .
• Crucial strengths and weaknesses of the main translation theories .

💁 Writing Your Analytical Essay Introduction

You must understand how to compose an introduction to an analysis paper. The University of Wollongong describes the introduction as a “map” of any writing. When writing the introduction, follow these steps:

• Provide a lead-in for the reader by offering a general introduction to the topic of the paper.
• Include your thesis statement , which shifts the reader from the generalized introduction to the specific topic and its related issues to your unique take on the essay topic.
• Present a general outline of the analysis paper.

Watch this great video for further instructions on how to write an introduction to an analysis essay.

Example of an Analytical Essay Introduction

“Four legs good, two legs bad” is one of the many postulates invented by George Orwell for his characters in Animal Farm to vest them with socialist ideology and control over the animal population. The social revolution on Manor Farm was built on language instruments, first for the collective success of the animals, and later for the power consolidation by the pigs. The novel was written in 1945 when the transition from limitless freedoms of socialist countries transformed into dictatorship. Through his animal protagonists, the author analyzes the reasons for peoples’ belief in the totalitarian regime. In Orwell’s Animal Farm , rhetoric and language prove to be more effective ways to keep social control than physical power.

🏋 Writing Your Analytical Essay Body

The body of the paper may be compared to its heart. This is the part where you show off your talent for analysis by providing convincing, well-researched, and well-thought-out arguments to support your thesis statement. You have already gathered the information, and now all you may start crafting your paper.

To make the body of an analytical essay, keep the following in mind:

• Discuss one argument per paragraph , although each argument can relate to multiple issues
• Strike a balance between writing in an unbiased tone, while expressing your personal opinion
• Be reasonable when making judgments regarding any of the problems you discuss
• Remember to include the opposing point of view to create a balanced perspective

The bottom line is: you want to offer opposing views, but you must pose your arguments so they will counter those opposing views and prove your point of view. Follow these steps when constructing each body paragraph:

• Choose the main sentence. The main or topic sentence will be the first line in your essay. The topic sentence is responsible for presenting the argument you will discuss in the paragraph and demonstrate how this argument relates to the thesis statement.
• Provide the context for the topic sentence , whether it relates to a quote, a specific incident in society, or something else. Offer evidence on who, what, where, when, why, and how.
• Give your analysis of the argument and how it adequately proves your thesis.
• Write a closing sentence that sums up the paragraph and provides a transition to the following paragraph.

Example of an Analytical Essay Body

Literacy can grant power, provided that there are animals who cannot read or write. In the beginning, the animals’ literacy and intellect are relatively the same. Old Major is the cleverest pig; he is the kind old philosopher, like Karl Marx or Vladimir Lenin. During his retirement, he develops a theory that all humans are the root of evil. His speech was the foundation for the pigs’ assumption of power. They refined his ideas into a new ideology and called it Animalism. They also learned how to read. It allowed the pigs to declare themselves the “mind workers.” Therefore, the pigs’ literacy assured the illiterate animals in their objective superiority.

Meanwhile, as the pigs were the intellectual elite, they were not supposed to work, which raised their social status by itself. Snowball tried to promote education among all the animals, but most of them failed to master the alphabet. This is a metaphor for the general public being predominantly ignorant and easy to manipulate. At the same time, Boxer and other animals that spend most of the day in hard work merely have no time to develop their intellect. Thus, the pigs’ intention to build a school for pig children was highly efficient. Unequal access to education and unequal ability to express one’s thoughts in perspective reinforce the social divide, making the pigs smarter and more powerful and undermining other animals’ self-esteem.

At this point, the pigs resort to propaganda and rhetoric. Squealer uses his oratorical gift to refine the pigs’ message to the other animals. Upon Napoleon’s order, he breaks the Seven Commandments of farm governance. At night, he climbs the ladder to change them, and once even falls from the ladder trying to change the commandment on alcohol. The “proletarian” animals soon forget what the Seven Commandments were like in the first place and are unsure if they have ever been altered. Further on, Minimus writes a poem praising Napoleon. Finally, Squealer replaces the Commandments with a single assertion: “All animals are equal, but some animals are more equal than others.” Language is no longer used to convince. It is used to control and manipulate.

🏁 Writing Your Analytical Essay Conclusion

The conclusion is short and sweet. It summarizes everything you just wrote in the essay and wraps it up with a beautiful shiny bow. Follow these steps to write a convincing conclusion:

• Repeat the thesis statement and summarize your argument. Even when using the best summary generator for the task, reread it to make sure all the crucial points are included.
• Take your argument beyond what is simply stated in your paper. You want to show how it is essential in terms of the bigger picture. Also, you may dwell on the influence on citizens of the country.

Example of an Analytical Essay Conclusion

Because of everything mentioned above, it becomes clear that language and rhetoric can rise to power, establish authority, and manipulate ordinary people. Animal Farm is the simplified version of a communist society. It shows how wise philosophers’ good intentions can be used by mean leaders to gain unopposed power and unconditional trust. Unfortunately, this can lead to the death of many innocent animals, i.e., people, as totalitarianism has nothing to do with people’s rule. Therefore, language and oratory are potent tools that can keep people oppressed and weak, deprive them of any chance for improvement and growth, and make them think that there is no other possible existence.

Now you are ready to write an analysis essay! See, it’s easier than you thought.

Of course, it’s always helpful to see other analysis essay examples. The University of Arkansas at Little Rock provides some great examples of an analytical paper .

✏️ Analysis Essay FAQ

A great analytical paper should be well-structured, cohesive, and logically consistent. Each part of the essay should be in its place, creating a smooth and easy-to-read text. Most importantly, the statements should be objective and backed by arguments and examples.

It is a paper devoted to analyzing a certain topic or subject. An analysis essay is all about reviewing certain details of the subject and interpreting them. For example, such an analysis for a poem includes a description of artistic means that helped the poet convey the idea.

Writing an analytical essay on a book/movie/poem start with an outline. Point out what catches the eye when reviewing the subject. See how these details can be interpreted. Make sure that you refer to the main idea/message. Add an appropriate introduction and a logical conclusion.

Being more analytical in writing can be essential for a student. This is a skill that can be self-taught: try to start noticing subtle details and describe them. As you write, interpret the facts and strive to draw conclusions. Try to be as objective as possible.

• Elements of Analysis
• How Can I Create Stronger Analysis?
• How to Write a Literary Analysis Essay: Bucks.edu
• Essay Structure | – Harvard College Writing Center
• Analytical Writing: Looking Closely (Colostate.edu)
• Analytical Thesis Statements – University of Arizona
• Writing an analytic essay – UTSC – University of Toronto
• Organizing Your Analysis // Purdue Writing Lab
• How to Write an Analytical Essay: 15 Steps (with Pictures)
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• How to write a rhetorical analysis | Key concepts & examples

How to Write a Rhetorical Analysis | Key Concepts & Examples

Published on August 28, 2020 by Jack Caulfield . Revised on July 23, 2023.

A rhetorical analysis is a type of essay  that looks at a text in terms of rhetoric. This means it is less concerned with what the author is saying than with how they say it: their goals, techniques, and appeals to the audience.

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Table of contents

Key concepts in rhetoric, analyzing the text, introducing your rhetorical analysis, the body: doing the analysis, concluding a rhetorical analysis, other interesting articles, frequently asked questions about rhetorical analysis.

Rhetoric, the art of effective speaking and writing, is a subject that trains you to look at texts, arguments and speeches in terms of how they are designed to persuade the audience. This section introduces a few of the key concepts of this field.

Appeals: Logos, ethos, pathos

Appeals are how the author convinces their audience. Three central appeals are discussed in rhetoric, established by the philosopher Aristotle and sometimes called the rhetorical triangle: logos, ethos, and pathos.

Logos , or the logical appeal, refers to the use of reasoned argument to persuade. This is the dominant approach in academic writing , where arguments are built up using reasoning and evidence.

Ethos , or the ethical appeal, involves the author presenting themselves as an authority on their subject. For example, someone making a moral argument might highlight their own morally admirable behavior; someone speaking about a technical subject might present themselves as an expert by mentioning their qualifications.

Pathos , or the pathetic appeal, evokes the audience’s emotions. This might involve speaking in a passionate way, employing vivid imagery, or trying to provoke anger, sympathy, or any other emotional response in the audience.

These three appeals are all treated as integral parts of rhetoric, and a given author may combine all three of them to convince their audience.

Text and context

In rhetoric, a text is not necessarily a piece of writing (though it may be this). A text is whatever piece of communication you are analyzing. This could be, for example, a speech, an advertisement, or a satirical image.

In these cases, your analysis would focus on more than just language—you might look at visual or sonic elements of the text too.

The context is everything surrounding the text: Who is the author (or speaker, designer, etc.)? Who is their (intended or actual) audience? When and where was the text produced, and for what purpose?

Looking at the context can help to inform your rhetorical analysis. For example, Martin Luther King, Jr.’s “I Have a Dream” speech has universal power, but the context of the civil rights movement is an important part of understanding why.

Claims, supports, and warrants

A piece of rhetoric is always making some sort of argument, whether it’s a very clearly defined and logical one (e.g. in a philosophy essay) or one that the reader has to infer (e.g. in a satirical article). These arguments are built up with claims, supports, and warrants.

A claim is the fact or idea the author wants to convince the reader of. An argument might center on a single claim, or be built up out of many. Claims are usually explicitly stated, but they may also just be implied in some kinds of text.

The author uses supports to back up each claim they make. These might range from hard evidence to emotional appeals—anything that is used to convince the reader to accept a claim.

The warrant is the logic or assumption that connects a support with a claim. Outside of quite formal argumentation, the warrant is often unstated—the author assumes their audience will understand the connection without it. But that doesn’t mean you can’t still explore the implicit warrant in these cases.

For example, look at the following statement:

We can see a claim and a support here, but the warrant is implicit. Here, the warrant is the assumption that more likeable candidates would have inspired greater turnout. We might be more or less convinced by the argument depending on whether we think this is a fair assumption.

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Rhetorical analysis isn’t a matter of choosing concepts in advance and applying them to a text. Instead, it starts with looking at the text in detail and asking the appropriate questions about how it works:

• What is the author’s purpose?
• Do they focus closely on their key claims, or do they discuss various topics?
• What tone do they take—angry or sympathetic? Personal or authoritative? Formal or informal?
• Who seems to be the intended audience? Is this audience likely to be successfully reached and convinced?
• What kinds of evidence are presented?

By asking these questions, you’ll discover the various rhetorical devices the text uses. Don’t feel that you have to cram in every rhetorical term you know—focus on those that are most important to the text.

The following sections show how to write the different parts of a rhetorical analysis.

Like all essays, a rhetorical analysis begins with an introduction . The introduction tells readers what text you’ll be discussing, provides relevant background information, and presents your thesis statement .

Hover over different parts of the example below to see how an introduction works.

Martin Luther King, Jr.’s “I Have a Dream” speech is widely regarded as one of the most important pieces of oratory in American history. Delivered in 1963 to thousands of civil rights activists outside the Lincoln Memorial in Washington, D.C., the speech has come to symbolize the spirit of the civil rights movement and even to function as a major part of the American national myth. This rhetorical analysis argues that King’s assumption of the prophetic voice, amplified by the historic size of his audience, creates a powerful sense of ethos that has retained its inspirational power over the years.

The body of your rhetorical analysis is where you’ll tackle the text directly. It’s often divided into three paragraphs, although it may be more in a longer essay.

Each paragraph should focus on a different element of the text, and they should all contribute to your overall argument for your thesis statement.

Hover over the example to explore how a typical body paragraph is constructed.

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.

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The conclusion of a rhetorical analysis wraps up the essay by restating the main argument and showing how it has been developed by your analysis. It may also try to link the text, and your analysis of it, with broader concerns.

Explore the example below to get a sense of the conclusion.

It is clear from this analysis that the effectiveness of King’s rhetoric stems less from the pathetic appeal of his utopian “dream” than it does from the ethos he carefully constructs to give force to his statements. By framing contemporary upheavals as part of a prophecy whose fulfillment will result in the better future he imagines, King ensures not only the effectiveness of his words in the moment but their continuing resonance today. Even if we have not yet achieved King’s dream, we cannot deny the role his words played in setting us on the path toward it.

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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The goal of a rhetorical analysis is to explain the effect a piece of writing or oratory has on its audience, how successful it is, and the devices and appeals it uses to achieve its goals.

Unlike a standard argumentative essay , it’s less about taking a position on the arguments presented, and more about exploring how they are constructed.

The term “text” in a rhetorical analysis essay refers to whatever object you’re analyzing. It’s frequently a piece of writing or a speech, but it doesn’t have to be. For example, you could also treat an advertisement or political cartoon as a text.

Logos appeals to the audience’s reason, building up logical arguments . Ethos appeals to the speaker’s status or authority, making the audience more likely to trust them. Pathos appeals to the emotions, trying to make the audience feel angry or sympathetic, for example.

Collectively, these three appeals are sometimes called the rhetorical triangle . They are central to rhetorical analysis , though a piece of rhetoric might not necessarily use all of them.

In rhetorical analysis , a claim is something the author wants the audience to believe. A support is the evidence or appeal they use to convince the reader to believe the claim. A warrant is the (often implicit) assumption that links the support with the claim.

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