descriptive essays by famous authors

40 Best Essays of All Time (Including Links & Writing Tips)

I wanted to improve my writing skills. I thought that reading the forty best essays of all time would bring me closer to my goal.

I had little money (buying forty collections of essays was out of the question) so I’ve found them online instead. I’ve hacked through piles of them, and finally, I’ve found the great ones. Now I want to share the whole list with you (with the addition of my notes about writing). Each item on the list has a direct link to the essay, so please click away and indulge yourself. Also, next to each essay, there’s an image of the book that contains the original work.

About this essay list:

Reading essays is like indulging in candy; once you start, it’s hard to stop. I sought out essays that were not only well-crafted but also impactful. These pieces genuinely shifted my perspective. Whether you’re diving in for enjoyment or to hone your writing, these essays promise to leave an imprint. It’s fascinating how an essay can resonate with you, and even if details fade, its essence remains. I haven’t ranked them in any way; they’re all stellar. Skim through, explore the summaries, and pick up some writing tips along the way. For more essay gems, consider “Best American Essays” by Joyce Carol Oates or “101 Essays That Will Change The Way You Think” curated by Brianna Wiest.

40 Best Essays of All Time (With Links And Writing Tips)

1. david sedaris – laugh, kookaburra.

A great family drama takes place against the backdrop of the Australian wilderness. And the Kookaburra laughs… This is one of the top essays of the lot. It’s a great mixture of family reminiscences, travel writing, and advice on what’s most important in life. You’ll also learn an awful lot about the curious culture of the Aussies.

Writing tips from the essay:

• Use analogies (you can make it funny or dramatic to achieve a better effect): “Don’t be afraid,” the waiter said, and he talked to the kookaburra in a soothing, respectful voice, the way you might to a child with a switchblade in his hand”.
• You can touch a few cognate stories in one piece of writing . Reveal the layers gradually. Intertwine them and arrange for a grand finale where everything is finally clear.
• Be on the side of the reader. Become their friend and tell the story naturally, like around the dinner table.
• Use short, punchy sentences. Tell only as much as is required to make your point vivid.
• Conjure sentences that create actual feelings: “I had on a sweater and a jacket, but they weren’t quite enough, and I shivered as we walked toward the body, and saw that it was a . . . what, exactly?”
• You may ask a few tough questions in a row to provoke interest and let the reader think.

2. Charles D’Ambrosio – Documents

Do you think your life punches you in the face all too often? After reading this essay, you will change your mind. Reading about loss and hardships often makes us sad at first, but then enables us to feel grateful for our lives . D’Ambrosio shares his documents (poems, letters) that had a major impact on his life, and brilliantly shows how not to let go of the past.

• The most powerful stories are about your family and the childhood moments that shaped your life.
• You don’t need to build up tension and pussyfoot around the crux of the matter. Instead, surprise the reader by telling it like it is: “The poem was an allegory about his desire to leave our family.” Or: “My father had three sons. I’m the eldest; Danny, the youngest, killed himself sixteen years ago”.
• You can use real documents and quotes from your family and friends. It makes it so much more personal and relatable.
• Don’t cringe before the long sentence if you know it’s a strong one.
• At the end of the essay, you may come back to the first theme to close the circuit.
• Using slightly poetic language is acceptable, as long as it improves the story.

3. E. B. White – Once more to the lake

What does it mean to be a father? Can you see your younger self, reflected in your child? This beautiful essay tells the story of the author, his son, and their traditional stay at a placid lake hidden within the forests of Maine. This place of nature is filled with sunshine and childhood memories. It also provides for one of the greatest meditations on nature and the passing of time.

• Use sophisticated language, but not at the expense of readability.
• Use vivid language to trigger the mirror neurons in the reader’s brain: “I took along my son, who had never had any fresh water up his nose and who had seen lily pads only from train windows”.
• It’s important to mention universal feelings that are rarely talked about (it helps to create a bond between two minds): “You remember one thing, and that suddenly reminds you of another thing. I guess I remembered clearest of all the early mornings when the lake was cool and motionless”.
• Animate the inanimate: “this constant and trustworthy body of water”.
• Mentioning tales of yore is a good way to add some mystery and timelessness to your piece.
• Using double, or even triple “and” in one sentence is fine. It can make the sentence sing.

4. Zadie Smith – Fail Better

Aspiring writers feel tremendous pressure to perform. The daily quota of words often turns out to be nothing more than gibberish. What then? Also, should the writer please the reader or should she be fully independent? What does it mean to be a writer, anyway? This essay is an attempt to answer these questions, but its contents are not only meant for scribblers. Within it, you’ll find some great notes about literary criticism, how we treat art , and the responsibility of the reader.

• A perfect novel ? There’s no such thing.
• The novel always reflects the inner world of the writer. That’s why we’re fascinated with writers.
• Writing is not simply about craftsmanship, but about taking your reader to the unknown lands. In the words of Christopher Hitchens: “Your ideal authors ought to pull you from the foundering of your previous existence, not smilingly guide you into a friendly and peaceable harbor.”
• Style comes from your unique personality and the perception of the world. It takes time to develop it.
• Never try to tell it all. “All” can never be put into language. Take a part of it and tell it the best you can.
• Avoid being cliché. Try to infuse new life into your writing .
• Writing is about your way of being. It’s your game. Paradoxically, if you try to please everyone, your writing will become less appealing. You’ll lose the interest of the readers. This rule doesn’t apply in the business world where you have to write for a specific person (a target audience).
• As a reader, you have responsibilities too. According to the critics, every thirty years, there’s just a handful of great novels. Maybe it’s true. But there’s also an element of personal connection between the reader and the writer. That’s why for one person a novel is a marvel, while for the other, nothing special at all. That’s why you have to search and find the author who will touch you.

5. Virginia Woolf – Death of the Moth

Amid an ordinary day, sitting in a room of her own, Virginia Woolf tells about the epic struggle for survival and the evanescence of life. This short essay is truly powerful. In the beginning, the atmosphere is happy. Life is in full force. And then, suddenly, it fades away. This sense of melancholy would mark the last years of Woolf’s life.

• The melody of language… A good sentence is like music: “Moths that fly by day are not properly to be called moths; they do not excite that pleasant sense of dark autumn nights and ivy-blossom which the commonest yellow- underwing asleep in the shadow of the curtain never fails to rouse in us”.
• You can show the grandest in the mundane (for example, the moth at your window and the drama of life and death).
• Using simple comparisons makes the style more lucid: “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”.

6. Meghan Daum – My Misspent Youth

Many of us, at some point or another, dream about living in New York. Meghan Daum’s take on the subject differs slightly from what you might expect. There’s no glamour, no Broadway shows, and no fancy restaurants. Instead, there’s the sullen reality of living in one of the most expensive cities in the world. You’ll get all the juicy details about credit cards, overdue payments, and scrambling for survival. It’s a word of warning. But it’s also a great story about shattered fantasies of living in a big city. Word on the street is: “You ain’t promised mañana in the rotten manzana.”

• You can paint a picture of your former self. What did that person believe in? What kind of world did he or she live in?
• “The day that turned your life around” is a good theme you may use in a story. Memories of a special day are filled with emotions. Strong emotions often breed strong writing.
• Use cultural references and relevant slang to create a context for your story.
• You can tell all the details of the story, even if in some people’s eyes you’ll look like the dumbest motherfucker that ever lived. It adds to the originality.
• Say it in a new way: “In this mindset, the dollars spent, like the mechanics of a machine no one bothers to understand, become an abstraction, an intangible avenue toward self-expression, a mere vehicle of style”.
• You can mix your personal story with the zeitgeist or the ethos of the time.

7. Roger Ebert – Go Gentle Into That Good Night

Probably the greatest film critic of all time, Roger Ebert, tells us not to rage against the dying of the light. This essay is full of courage, erudition, and humanism. From it, we learn about what it means to be dying (Hitchens’ “Mortality” is another great work on that theme). But there’s so much more. It’s a great celebration of life too. It’s about not giving up, and sticking to your principles until the very end. It brings to mind the famous scene from Dead Poets Society where John Keating (Robin Williams) tells his students: “Carpe, carpe diem, seize the day boys, make your lives extraordinary”.

• Start with a powerful sentence: “I know it is coming, and I do not fear it, because I believe there is nothing on the other side of death to fear.”
• Use quotes to prove your point -”‘Ask someone how they feel about death’, he said, ‘and they’ll tell you everyone’s gonna die’. Ask them, ‘In the next 30 seconds?’ No, no, no, that’s not gonna happen”.
• Admit the basic truths about reality in a childlike way (especially after pondering quantum physics) – “I believe my wristwatch exists, and even when I am unconscious, it is ticking all the same. You have to start somewhere”.
• Let other thinkers prove your point. Use quotes and ideas from your favorite authors and friends.

8. George Orwell – Shooting an Elephant

Even after one reading, you’ll remember this one for years. The story, set in British Burma, is about shooting an elephant (it’s not for the squeamish). It’s also the most powerful denunciation of colonialism ever put into writing. Orwell, apparently a free representative of British rule, feels to be nothing more than a puppet succumbing to the whim of the mob.

• The first sentence is the most important one: “In Moulmein, in Lower Burma, I was hated by large numbers of people — the only time in my life that I have been important enough for this to happen to me”.
• You can use just the first paragraph to set the stage for the whole piece of prose.
• Use beautiful language that stirs the imagination: “I remember that it was a cloudy, stuffy morning at the beginning of the rains.” Or: “I watched him beating his bunch of grass against his knees, with that preoccupied grandmotherly air that elephants have.”
• If you’ve ever been to war, you will have a story to tell: “(Never tell me, by the way, that the dead look peaceful. Most of the corpses I have seen looked devilish.)”
• Use simple words, and admit the sad truth only you can perceive: “They did not like me, but with the magical rifle in my hands I was momentarily worth watching”.
• Share words of wisdom to add texture to the writing: “I perceived at this moment that when the white man turns tyrant it is his freedom that he destroys.”
• I highly recommend reading everything written by Orwell, especially if you’re looking for the best essay collections on Amazon or Goodreads.

9. George Orwell – A Hanging

It’s just another day in Burma – time to hang a man. Without much ado, Orwell recounts the grim reality of taking another person’s life. A man is taken from his cage and in a few minutes, he’s going to be hanged. The most horrible thing is the normality of it. It’s a powerful story about human nature. Also, there’s an extraordinary incident with the dog, but I won’t get ahead of myself.

• Create brilliant, yet short descriptions of characters: “He was a Hindu, a puny wisp of a man, with a shaven head and vague liquid eyes. He had a thick, sprouting mustache, absurdly too big for his body, rather like the mustache of a comic man on the films”.
• Understand and share the felt presence of a unique experience: “It is curious, but till that moment I had never realized what it means to destroy a healthy, conscious man”.
• Make your readers hear the sound that will stay with them forever: “And then when the noose was fixed, the prisoner began crying out on his god. It was a high, reiterated cry of “Ram! Ram! Ram! Ram!”
• Make the ending original by refusing the tendency to seek closure or summing it up.

10. Christopher Hitchens – Assassins of The Mind

In one of the greatest essays written in defense of free speech, Christopher Hitchens shares many examples of how modern media kneel to the explicit threats of violence posed by Islamic extremists. He recounts the story of his friend, Salman Rushdie, author of Satanic Verses who, for many years, had to watch over his shoulder because of the fatwa of Ayatollah Khomeini. With his usual wit, Hitchens shares various examples of people who died because of their opinions and of editors who refuse to publish anything related to Islam because of fear (and it was written long before the Charlie Hebdo massacre). After reading the essay, you realize that freedom of expression is one of the most precious things we have and that we have to fight for it. I highly recommend all essay collections penned by Hitchens, especially the ones written for Vanity Fair.

• Assume that the readers will know the cultural references. When they do, their self-esteem goes up – they are a part of an insider group.
• When proving your point, give a variety of real-life examples from eclectic sources. Leave no room for ambiguity or vagueness. Research and overall knowledge are essential here.
• Use italics to emphasize a specific word or phrase (here I use the underlining): “We live now in a climate where every publisher and editor and politician has to weigh in advance the possibility of violent Muslim reprisal. In consequence, several things have not happened.”
• Think about how to make it sound more original: “So there is now a hidden partner in our cultural and academic and publishing and the broadcasting world: a shadowy figure that has, uninvited, drawn up a chair to the table.”

11. Christopher Hitchens – The New Commandments

It’s high time to shatter the tablets and amend the biblical rules of conduct. Watch, as Christopher Hitchens slays one commandment after the other on moral, as well as historical grounds. For example, did you know that there are many versions of the divine law dictated by God to Moses which you can find in the Bible? Aren’t we thus empowered to write our version of a proper moral code? If you approach it with an open mind, this essay may change the way you think about the Bible and religion.

• Take the iconoclastic approach. Have a party on the hallowed soil.
• Use humor to undermine orthodox ideas (it seems to be the best way to deal with an established authority).
• Use sarcasm and irony when appropriate (or not): “Nobody is opposed to a day of rest. The international Communist movement got its start by proclaiming a strike for an eight-hour day on May 1, 1886, against Christian employers who used child labor seven days a week”.
• Defeat God on legal grounds: “Wise lawmakers know that it is a mistake to promulgate legislation that is impossible to obey”.
• Be ruthless in the logic of your argument. Provide evidence.

12. Phillip Lopate – Against Joie de Vivre

While reading this fantastic essay, this quote from Slavoj Žižek kept coming back to me: “I think that the only life of deep satisfaction is a life of eternal struggle, especially struggle with oneself. If you want to remain happy, just remain stupid. Authentic masters are never happy; happiness is a category of slaves”. I can bear the onus of happiness or joie de vivre for some time. But this force enables me to get free and wallow in the sweet feelings of melancholy and nostalgia. By reading this work of Lopate, you’ll enter into the world of an intelligent man who finds most social rituals a drag. It’s worth exploring.

• Go against the grain. Be flamboyant and controversial (if you can handle it).
• Treat the paragraph like a group of thoughts on one theme. Next paragraph, next theme.
• Use references to other artists to set the context and enrich the prose: “These sunny little canvases with their talented innocence, the third-generation spirit of Montmartre, bore testimony to a love of life so unbending as to leave an impression of rigid narrow-mindedness as extreme as any Savonarola. Their rejection of sorrow was total”.
• Capture the emotions in life that are universal, yet remain unspoken.
• Don’t be afraid to share your intimate experiences.

13. Philip Larkin – The Pleasure Principle

This piece comes from the Required Writing collection of personal essays. Larkin argues that reading in verse should be a source of intimate pleasure – not a medley of unintelligible thoughts that only the author can (or can’t?) decipher. It’s a sobering take on modern poetry and a great call to action for all those involved in it. Well worth a read.

• Write about complicated ideas (such as poetry) simply. You can change how people look at things if you express yourself enough.
• Go boldly. The reader wants a bold writer: “We seem to be producing a new kind of bad poetry, not the old kind that tries to move the reader and fails, but one that does not even try”.
• Play with words and sentence length. Create music: “It is time some of you playboys realized, says the judge, that reading a poem is hard work. Fourteen days in stir. Next case”.
• Persuade the reader to take action. Here, direct language is the most effective.

14. Sigmund Freud – Thoughts for the Times on War and Death

This essay reveals Freud’s disillusionment with the whole project of Western civilization. How the peaceful European countries could engage in a war that would eventually cost over 17 million lives? What stirs people to kill each other? Is it their nature, or are they puppets of imperial forces with agendas of their own? From the perspective of time, this work by Freud doesn’t seem to be fully accurate. Even so, it’s well worth your time.

• Commence with long words derived from Latin. Get grandiloquent, make your argument incontrovertible, and leave your audience discombobulated.
• Use unending sentences, so that the reader feels confused, yet impressed.
• Say it well: “In this way, he enjoyed the blue sea and the grey; the beauty of snow-covered mountains and green meadowlands; the magic of northern forests and the splendor of southern vegetation; the mood evoked by landscapes that recall great historical events, and the silence of untouched nature”.
• Human nature is a subject that never gets dry.

15. Zadie Smith – Some Notes on Attunement

“You are privy to a great becoming, but you recognize nothing” – Francis Dolarhyde. This one is about the elusiveness of change occurring within you. For Zadie, it was hard to attune to the vibes of Joni Mitchell – especially her Blue album. But eventually, she grew up to appreciate her genius, and all the other things changed as well. This top essay is all about the relationship between humans, and art. We shouldn’t like art because we’re supposed to. We should like it because it has an instantaneous, emotional effect on us. Although, according to Stansfield (Gary Oldman) in Léon, liking Beethoven is rather mandatory.

• Build an expectation of what’s coming: “The first time I heard her I didn’t hear her at all”.
• Don’t be afraid of repetition if it feels good.
• Psychedelic drugs let you appreciate things you never appreciated.
• Intertwine a personal journey with philosophical musings.
• Show rather than tell: “My friends pitied their eyes. The same look the faithful give you as you hand them back their “literature” and close the door in their faces”.
• Let the poets speak for you: “That time is past, / And all its aching joys are now no
• more, / And all its dizzy raptures”.
• By voicing your anxieties, you can heal the anxieties of the reader. In that way, you say: “I’m just like you. I’m your friend in this struggle”.
• Admit your flaws to make your persona more relatable.

16. Annie Dillard – Total Eclipse

My imagination was always stirred by the scene of the solar eclipse in Pharaoh, by Boleslaw Prus. I wondered about the shock of the disoriented crowd when they saw how their ruler could switch off the light. Getting immersed in this essay by Annie Dillard has a similar effect. It produces amazement and some kind of primeval fear. It’s not only the environment that changes; it’s your mind and the perception of the world. After the eclipse, nothing is going to be the same again.

• Yet again, the power of the first sentence draws you in: “It had been like dying, that sliding down the mountain pass”.
• Don’t miss the extraordinary scene. Then describe it: “Up in the sky, like a crater from some distant cataclysm, was a hollow ring”.
• Use colloquial language. Write as you talk. Short sentences often win.
• Contrast the numinous with the mundane to enthrall the reader.

17. Édouard Levé – When I Look at a Strawberry, I Think of a Tongue

This suicidally beautiful essay will teach you a lot about the appreciation of life and the struggle with mental illness. It’s a collection of personal, apparently unrelated thoughts that show us the rich interior of the author. You look at the real-time thoughts of another person, and then recognize the same patterns within yourself… It sounds like a confession of a person who’s about to take their life, and it’s striking in its originality.

• Use the stream-of-consciousness technique and put random thoughts on paper. Then, polish them: “I have attempted suicide once, I’ve been tempted four times to attempt it”.
• Place the treasure deep within the story: “When I look at a strawberry, I think of a tongue, when I lick one, of a kiss”.
• Don’t worry about what people might think. The more you expose, the more powerful the writing. Readers also take part in the great drama. They experience universal emotions that mostly stay inside.  You can translate them into writing.

18. Gloria E. Anzaldúa – How to Tame a Wild Tongue

Anzaldúa, who was born in south Texas, had to struggle to find her true identity. She was American, but her culture was grounded in Mexico. In this way, she and her people were not fully respected in either of the countries. This essay is an account of her journey of becoming the ambassador of the Chicano (Mexican-American) culture. It’s full of anecdotes, interesting references, and different shades of Spanish. It’s a window into a new cultural dimension that you’ve never experienced before.

• If your mother tongue is not English, but you write in English, use some of your unique homeland vocabulary.
• You come from a rich cultural heritage. You can share it with people who never heard about it, and are not even looking for it, but it is of immense value to them when they discover it.
• Never forget about your identity. It is precious. It is a part of who you are. Even if you migrate, try to preserve it. Use it to your best advantage and become the voice of other people in the same situation.
• Tell them what’s really on your mind: “So if you want to hurt me, talk badly about my language. Ethnic identity is twin skin to linguistic identity – I am my language”.

19. Kurt Vonnegut – Dispatch From A Man Without a Country

In terms of style, this essay is flawless. It’s simple, conversational, humorous, and yet, full of wisdom. And when Vonnegut becomes a teacher and draws an axis of “beginning – end”, and, “good fortune – bad fortune” to explain literature, it becomes outright hilarious. It’s hard to find an author with such a down-to-earth approach. He doesn’t need to get intellectual to prove a point. And the point could be summed up by the quote from Great Expectations – “On the Rampage, Pip, and off the Rampage, Pip – such is Life!”

• Start with a curious question: “Do you know what a twerp is?”
• Surprise your readers with uncanny analogies: “I am from a family of artists. Here I am, making a living in the arts. It has not been a rebellion. It’s as though I had taken over the family Esso station.”
• Use your natural language without too many special effects. In time, the style will crystalize.
• An amusing lesson in writing from Mr. Vonnegut: “Here is a lesson in creative writing. First rule: Do not use semicolons. They are transvestite hermaphrodites representing absolutely nothing. All they do is show you’ve been to college”.
• You can put actual images or vignettes between the paragraphs to illustrate something.

20. Mary Ruefle – On Fear

Most psychologists and gurus agree that fear is the greatest enemy of success or any creative activity. It’s programmed into our minds to keep us away from imaginary harm. Mary Ruefle takes on this basic human emotion with flair. She explores fear from so many angles (especially in the world of poetry-writing) that at the end of this personal essay, you will look at it, dissect it, untangle it, and hopefully be able to say “f**k you” the next time your brain is trying to stop you.

• Research your subject thoroughly. Ask people, have interviews, get expert opinions, and gather as much information as possible. Then scavenge through the fields of data, and pull out the golden bits that will let your prose shine.
• Use powerful quotes to add color to your story: “The poet who embarks on the creation of the poem (as I know by experience), begins with the aimless sensation of a hunter about to embark on a night hunt through the remotest of forests. Unaccountable dread stirs in his heart”. – Lorca.
• Writing advice from the essay: “One of the fears a young writer has is not being able to write as well as he or she wants to, the fear of not being able to sound like X or Y, a favorite author. But out of fear, hopefully, is born a young writer’s voice”.

21. Susan Sontag – Against Interpretation

In this highly intellectual essay, Sontag fights for art and its interpretation. It’s a great lesson, especially for critics and interpreters who endlessly chew on works that simply defy interpretation. Why don’t we just leave the art alone? I always hated it when at school they asked me: “What did the author have in mind when he did X or Y?” Iēsous Pantocrator! Hell if I know! I will judge it through my subjective experience!

• Leave the art alone: “Today is such a time, when the project of interpretation is reactionary, stifling. Like the fumes of the automobile and heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities”.
• When you have something really important to say, style matters less.
• There’s no use in creating a second meaning or inviting interpretation of our art. Just leave it be and let it speak for itself.

22. Nora Ephron – A Few Words About Breasts

This is a heartwarming, coming-of-age story about a young girl who waits in vain for her breasts to grow. It’s simply a humorous and pleasurable read. The size of breasts is a big deal for women. If you’re a man, you may peek into the mind of a woman and learn many interesting things. If you’re a woman, maybe you’ll be able to relate and at last, be at peace with your bosom.

• Touch an interesting subject and establish a strong connection with the readers (in that case, women with small breasts). Let your personality shine through the written piece. If you are lighthearted, show it.
• Use hyphens to create an impression of real talk: “My house was full of apples and peaches and milk and homemade chocolate chip cookies – which were nice, and good for you, but-not-right-before-dinner-or-you’ll-spoil-your-appetite.”
• Use present tense when you tell a story to add more life to it.
• Share the pronounced, memorable traits of characters: “A previous girlfriend named Solange, who was famous throughout Beverly Hills High School for having no pigment in her right eyebrow, had knitted them for him (angora dice)”.

23. Carl Sagan – Does Truth Matter – Science, Pseudoscience, and Civilization

Carl Sagan was one of the greatest proponents of skepticism, and an author of numerous books, including one of my all-time favorites – The Demon-Haunted World . He was also a renowned physicist and the host of the fantastic Cosmos: A Personal Voyage series, which inspired a whole generation to uncover the mysteries of the cosmos. He was also a dedicated weed smoker – clearly ahead of his time. The essay that you’re about to read is a crystallization of his views about true science, and why you should check the evidence before believing in UFOs or similar sorts of crap.

• Tell people the brutal truth they need to hear. Be the one who spells it out for them.
• Give a multitude of examples to prove your point. Giving hard facts helps to establish trust with the readers and show the veracity of your arguments.
• Recommend a good book that will change your reader’s minds – How We Know What Isn’t So: The Fallibility of Human Reason in Everyday Life

24. Paul Graham – How To Do What You Love

How To Do What You Love should be read by every college student and young adult. The Internet is flooded with a large number of articles and videos that are supposed to tell you what to do with your life. Most of them are worthless, but this one is different. It’s sincere, and there’s no hidden agenda behind it. There’s so much we take for granted – what we study, where we work, what we do in our free time… Surely we have another two hundred years to figure it out, right? Life’s too short to be so naïve. Please, read the essay and let it help you gain fulfillment from your work.

• Ask simple, yet thought-provoking questions (especially at the beginning of the paragraph) to engage the reader: “How much are you supposed to like what you do?”
• Let the readers question their basic assumptions: “Prestige is like a powerful magnet that warps even your beliefs about what you enjoy. It causes you to work not on what you like, but what you’d like to like”.
• If you’re writing for a younger audience, you can act as a mentor. It’s beneficial for younger people to read a few words of advice from a person with experience.

25. John Jeremiah Sullivan – Mister Lytle

A young, aspiring writer is about to become a nurse of a fading writer – Mister Lytle (Andrew Nelson Lytle), and there will be trouble. This essay by Sullivan is probably my favorite one from the whole list. The amount of beautiful sentences it contains is just overwhelming. But that’s just a part of its charm. It also takes you to the Old South which has an incredible atmosphere. It’s grim and tawny but you want to stay there for a while.

• Short, distinct sentences are often the most powerful ones: “He had a deathbed, in other words. He didn’t go suddenly”.
• Stay consistent with the mood of the story. When reading Mister Lytle you are immersed in that southern, forsaken, gloomy world, and it’s a pleasure.
• The spectacular language that captures it all: “His French was superb, but his accent in English was best—that extinct mid-Southern, land-grant pioneer speech, with its tinges of the abandoned Celtic urban Northeast (“boned” for burned) and its raw gentility”.
• This essay is just too good. You have to read it.

26. Joan Didion – On Self Respect

Normally, with that title, you would expect some straightforward advice about how to improve your character and get on with your goddamn life – but not from Joan Didion. From the very beginning, you can feel the depth of her thinking, and the unmistakable style of a true woman who’s been hurt. You can learn more from this essay than from whole books about self-improvement . It reminds me of the scene from True Detective, where Frank Semyon tells Ray Velcoro to “own it” after he realizes he killed the wrong man all these years ago. I guess we all have to “own it”, recognize our mistakes, and move forward sometimes.

• Share your moral advice: “Character — the willingness to accept responsibility for one’s own life — is the source from which self-respect springs”.
• It’s worth exploring the subject further from a different angle. It doesn’t matter how many people have already written on self-respect or self-reliance – you can still write passionately about it.
• Whatever happens, you must take responsibility for it. Brave the storms of discontent.

27. Susan Sontag – Notes on Camp

I’ve never read anything so thorough and lucid about an artistic current. After reading this essay, you will know what camp is. But not only that – you will learn about so many artists you’ve never heard of. You will follow their traces and go to places where you’ve never been before. You will vastly increase your appreciation of art. It’s interesting how something written as a list could be so amazing. All the listicles we usually see on the web simply cannot compare with it.

• Talking about artistic sensibilities is a tough job. When you read the essay, you will see how much research, thought and raw intellect came into it. But that’s one of the reasons why people still read it today, even though it was written in 1964.
• You can choose an unorthodox way of expression in the medium for which you produce. For example, Notes on Camp is a listicle – one of the most popular content formats on the web. But in the olden days, it was uncommon to see it in print form.
• Just think about what is camp: “And third among the great creative sensibilities is Camp: the sensibility of failed seriousness, of the theatricalization of experience. Camp refuses both the harmonies of traditional seriousness and the risks of fully identifying with extreme states of feeling”.

28. Ralph Waldo Emerson – Self-Reliance

That’s the oldest one from the lot. Written in 1841, it still inspires generations of people. It will let you understand what it means to be self-made. It contains some of the most memorable quotes of all time. I don’t know why, but this one especially touched me: “Every true man is a cause, a country, and an age; requires infinite spaces and numbers and time fully to accomplish his design, and posterity seems to follow his steps as a train of clients”. Now isn’t it purely individualistic, American thought? Emerson told me (and he will tell you) to do something amazing with my life. The language it contains is a bit archaic, but that just adds to the weight of the argument. You can consider it to be a meeting with a great philosopher who shaped the ethos of the modern United States.

• You can start with a powerful poem that will set the stage for your work.
• Be free in your creative flow. Do not wait for the approval of others: “What I must do is all that concerns me, not what the people think. This rule, equally arduous in actual and in intellectual life, may serve for the whole distinction between greatness and meanness”.
• Use rhetorical questions to strengthen your argument: “I hear a preacher announce for his text and topic the expediency of one of the institutions of his church. Do I not know beforehand that not possibly say a new and spontaneous word?”

29. David Foster Wallace – Consider The Lobster

When you want simple field notes about a food festival, you needn’t send there the formidable David Foster Wallace. He sees right through the hypocrisy and cruelty behind killing hundreds of thousands of innocent lobsters – by boiling them alive. This essay uncovers some of the worst traits of modern American people. There are no apologies or hedging one’s bets. There’s just plain truth that stabs you in the eye like a lobster claw. After reading this essay, you may reconsider the whole animal-eating business.

• When it’s important, say it plainly and stagger the reader: “[Lobsters] survive right up until they’re boiled. Most of us have been in supermarkets or restaurants that feature tanks of live lobster, from which you can pick out your supper while it watches you point”.
• In your writing, put exact quotes of the people you’ve been interviewing (including slang and grammatical errors). It makes it more vivid, and interesting.
• You can use humor in serious situations to make your story grotesque.
• Use captions to expound on interesting points of your essay.

30. David Foster Wallace – The Nature of the Fun

The famous novelist and author of the most powerful commencement speech ever done is going to tell you about the joys and sorrows of writing a work of fiction. It’s like taking care of a mutant child that constantly oozes smelly liquids. But you love that child and you want others to love it too. It’s a very humorous account of what it means to be an author. If you ever plan to write a novel, you should read that one. And the story about the Chinese farmer is just priceless.

• Base your point on a chimerical analogy. Here, the writer’s unfinished work is a “hideously damaged infant”.
• Even in expository writing, you may share an interesting story to keep things lively.
• Share your true emotions (even when you think they won’t interest anyone). Often, that’s exactly what will interest the reader.
• Read the whole essay for marvelous advice on writing fiction.

31. Margaret Atwood – Attitude

This is not an essay per se, but I included it on the list for the sake of variety. It was delivered as a commencement speech at The University of Toronto, and it’s about keeping the right attitude. Soon after leaving university, most graduates have to forget about safety, parties, and travel and start a new life – one filled with a painful routine that will last until they drop. Atwood says that you don’t have to accept that. You can choose how you react to everything that happens to you (and you don’t have to stay in that dead-end job for the rest of your days).

• At times, we are all too eager to persuade, but the strongest persuasion is not forceful. It’s subtle. It speaks to the heart. It affects you gradually.
• You may be tempted to talk about a subject by first stating what it is not, rather than what it is. Try to avoid that.
• Simple advice for writers (and life in general): “When faced with the inevitable, you always have a choice. You may not be able to alter reality, but you can alter your attitude towards it”.

32. Jo Ann Beard – The Fourth State of Matter

Read that one as soon as possible. It’s one of the most masterful and impactful essays you’ll ever read. It’s like a good horror – a slow build-up, and then your jaw drops to the ground. To summarize the story would be to spoil it, so I recommend that you just dig in and devour this essay in one sitting. It’s a perfect example of “show, don’t tell” writing, where the actions of characters are enough to create the right effect. No need for flowery adjectives here.

• The best story you will tell is going to come from your personal experience.
• Use mysteries that will nag the reader. For example, at the beginning of the essay, we learn about the “vanished husband” but there’s no explanation. We have to keep reading to get the answer.
• Explain it in simple terms: “You’ve got your solid, your liquid, your gas, and then your plasma”. Why complicate?

33. Terence McKenna – Tryptamine Hallucinogens and Consciousness

To me, Terence McKenna was one of the most interesting thinkers of the twentieth century. His many lectures (now available on YouTube) attracted millions of people who suspect that consciousness holds secrets yet to be unveiled. McKenna consumed psychedelic drugs for most of his life and it shows (in a positive way). Many people consider him a looney, and a hippie, but he was so much more than that. He dared to go into the abyss of his psyche and come back to tell the tale. He also wrote many books (the most famous being Food Of The Gods ), built a huge botanical garden in Hawaii , lived with shamans, and was a connoisseur of all things enigmatic and obscure. Take a look at this essay, and learn more about the explorations of the subconscious mind.

• Become the original thinker, but remember that it may require extraordinary measures: “I call myself an explorer rather than a scientist because the area that I’m looking at contains insufficient data to support even the dream of being a science”.
• Learn new words every day to make your thoughts lucid.
• Come up with the most outlandish ideas to push the envelope of what’s possible. Don’t take things for granted or become intellectually lazy. Question everything.

34. Eudora Welty – The Little Store

By reading this little-known essay, you will be transported into the world of the old American South. It’s a remembrance of trips to the little store in a little town. It’s warm and straightforward, and when you read it, you feel like a child once more. All these beautiful memories live inside of us. They lay somewhere deep in our minds, hidden from sight. The work by Eudora Welty is an attempt to uncover some of them and let you get reacquainted with some smells and tastes of the past.

• When you’re from the South, flaunt it. It’s still good old English but sometimes it sounds so foreign. I can hear the Southern accent too: “There were almost tangible smells – licorice recently sucked in a child’s cheek, dill-pickle brine that had leaked through a paper sack in a fresh trail across the wooden floor, ammonia-loaded ice that had been hoisted from wet Croker sacks and slammed into the icebox with its sweet butter at the door, and perhaps the smell of still-untrapped mice”.
• Yet again, never forget your roots.
• Childhood stories can be the most powerful ones. You can write about how they shaped you.

35. John McPhee – The Search for Marvin Gardens

The Search for Marvin Gardens contains many layers of meaning. It’s a story about a Monopoly championship, but also, it’s the author’s search for the lost streets visible on the board of the famous board game. It also presents a historical perspective on the rise and fall of civilizations, and on Atlantic City, which once was a lively place, and then, slowly declined, the streets filled with dirt and broken windows.

• There’s nothing like irony: “A sign- ‘Slow, Children at Play’- has been bent backward by an automobile”.
• Telling the story in apparently unrelated fragments is sometimes better than telling the whole thing in a logical order.
• Creativity is everything. The best writing may come just from connecting two ideas and mixing them to achieve a great effect. Shush! The muse is whispering.

36. Maxine Hong Kingston – No Name Woman

A dead body at the bottom of the well makes for a beautiful literary device. The first line of Orhan Pamuk’s novel My Name Is Red delivers it perfectly: “I am nothing but a corpse now, a body at the bottom of a well”. There’s something creepy about the idea of the well. Just think about the “It puts the lotion in the basket” scene from The Silence of the Lambs. In the first paragraph of Kingston’s essay, we learn about a suicide committed by uncommon means of jumping into the well. But this time it’s a real story. Who was this woman? Why did she do it? Read the essay.

• Mysterious death always gets attention. The macabre details are like daiquiris on a hot day – you savor them – you don’t let them spill.
• One sentence can speak volumes: “But the rare urge west had fixed upon our family, and so my aunt crossed boundaries not delineated in space”.
• It’s interesting to write about cultural differences – especially if you have the relevant experience. Something normal for us is unthinkable for others. Show this different world.
• The subject of sex is never boring.

37. Joan Didion – On Keeping A Notebook

Slouching Towards Bethlehem is one of the most famous collections of essays of all time. In it, you will find a curious piece called On Keeping A Notebook. It’s not only a meditation about keeping a journal. It’s also Didion’s reconciliation with her past self. After reading it, you will seriously reconsider your life’s choices and look at your life from a wider perspective.

• When you write things down in your journal, be more specific – unless you want to write a deep essay about it years later.
• Use the beauty of the language to relate to the past: “I have already lost touch with a couple of people I used to be; one of them, a seventeen-year-old, presents little threat, although it would be of some interest to me to know again what it feels like to sit on a river levee drinking vodka-and-orange-juice and listening to Les Paul and Mary Ford and their echoes sing ‘How High the Moon’ on the car radio”.
• Drop some brand names if you want to feel posh.

38. Joan Didion – Goodbye To All That

This one touched me because I also lived in New York City for a while. I don’t know why, but stories about life in NYC are so often full of charm and this eerie-melancholy-jazz feeling. They are powerful. They go like this: “There was a hard blizzard in NYC. As the sound of sirens faded, Tony descended into the dark world of hustlers and pimps.” That’s pulp literature but in the context of NYC, it always sounds cool. Anyway, this essay is amazing in too many ways. You just have to read it.

• Talk about New York City. They will read it.
• Talk about the human experience: “It did occur to me to call the desk and ask that the air conditioner be turned off, I never called, because I did not know how much to tip whoever might come—was anyone ever so young?”
• Look back at your life and reexamine it. Draw lessons from it.

39. George Orwell – Reflections on Gandhi

George Orwell could see things as they were. No exaggeration, no romanticism – just facts. He recognized totalitarianism and communism for what they were and shared his worries through books like 1984 and Animal Farm . He took the same sober approach when dealing with saints and sages. Today, we regard Gandhi as one of the greatest political leaders of the twentieth century – and rightfully so. But did you know that when asked about the Jews during World War II, Gandhi said that they should commit collective suicide and that it: “would have aroused the world and the people of Germany to Hitler’s violence.” He also recommended utter pacifism in 1942, during the Japanese invasion, even though he knew it would cost millions of lives. But overall he was a good guy. Read the essay and broaden your perspective on the Bapu of the Indian Nation.

• Share a philosophical thought that stops the reader for a moment: “No doubt alcohol, tobacco, and so forth are things that a saint must avoid, but sainthood is also a thing that human beings must avoid”.
• Be straightforward in your writing – no mannerisms, no attempts to create ‘style’, and no invocations of the numinous – unless you feel the mystical vibe.

40. George Orwell – Politics and the English Language

Let Mr. Orwell give you some writing tips. Written in 1946, this essay is still one of the most helpful documents on writing in English. Orwell was probably the first person who exposed the deliberate vagueness of political language. He was very serious about it and I admire his efforts to slay all unclear sentences (including ones written by distinguished professors). But it’s good to make it humorous too from time to time. My favorite examples of that would be the immortal Soft Language sketch by George Carlin or the “Romans Go Home” scene from Monty Python’s Life of Brian. Overall, it’s a great essay filled with examples from many written materials. It’s a must-read for any writer.

• Listen to the master: “This mixture of vagueness and sheer incompetence is the most marked characteristic of modern English prose.” Do something about it.
• This essay is all about writing better, so go to the source if you want the goodies.

Other Essays You May Find Interesting

The list that I’ve prepared is by no means complete. The literary world is full of exciting essays and you’ll never know which one is going to change your life. I’ve found reading essays very rewarding because sometimes, a single one means more than reading a whole book. It’s almost like wandering around and peeking into the minds of the greatest writers and thinkers that ever lived. To make this list more comprehensive, below I included more essays you may find interesting.

Oliver Sacks – On Libraries

One of the greatest contributors to the knowledge about the human mind, Oliver Sacks meditates on the value of libraries and his love of books.

Noam Chomsky – The Responsibility of Intellectuals

Chomsky did probably more than anyone else to define the role of the intelligentsia in the modern world . There is a war of ideas over there – good and bad – intellectuals are going to be those who ought to be fighting for the former.

Sam Harris – The Riddle of The Gun

Sam Harris, now a famous philosopher and neuroscientist, takes on the problem of gun control in the United States. His thoughts are clear of prejudice. After reading this, you’ll appreciate the value of logical discourse overheated, irrational debate that more often than not has real implications on policy.

Tim Ferriss – Some Practical Thoughts on Suicide

This piece was written as a blog post , but it’s worth your time. The author of the NYT bestseller The 4-Hour Workweek shares an emotional story about how he almost killed himself, and what can you do to save yourself or your friends from suicide.

Edward Said – Reflections on Exile

The life of Edward Said was a truly fascinating one. Born in Jerusalem, he lived between Palestine and Egypt and finally settled down in the United States, where he completed his most famous work – Orientalism. In this essay, he shares his thoughts about what it means to be in exile.

Richard Feynman – It’s as Simple as One, Two, Three…

Richard Feynman is one of the most interesting minds of the twentieth century. He was a brilliant physicist, but also an undeniably great communicator of science, an artist, and a traveler. By reading this essay, you can observe his thought process when he tries to figure out what affects our perception of time. It’s a truly fascinating read.

Rabindranath Tagore – The Religion of The Forest

I like to think about Tagore as my spiritual Friend. His poems are just marvelous. They are like some of the Persian verses that praise love, nature, and the unity of all things. By reading this short essay, you will learn a lot about Indian philosophy and its relation to its Western counterpart.

Richard Dawkins – Letter To His 10-Year-Old Daughter

Every father should be able to articulate his philosophy of life to his children. With this letter that’s similar to what you find in the Paris Review essays , the famed atheist and defender of reason, Richard Dawkins, does exactly that. It’s beautifully written and stresses the importance of looking at evidence when we’re trying to make sense of the world.

Albert Camus – The Minotaur (or, The Stop In Oran)

Each person requires a period of solitude – a period when one’s able to gather thoughts and make sense of life. There are many places where you may attempt to find quietude. Albert Camus tells about his favorite one.

Koty Neelis – 21 Incredible Life Lessons From Anthony Bourdain

I included it as the last one because it’s not really an essay, but I just had to put it somewhere. In this listicle, you’ll find the 21 most original thoughts of the high-profile cook, writer, and TV host, Anthony Bourdain. Some of them are shocking, others are funny, but they’re all worth checking out.

Lucius Annaeus Seneca – On the Shortness of Life

It’s similar to the Rubaiyat of Omar Khayyam because it praises life. Seneca shares some of his stoic philosophy and tells you not to waste your time on stupidities. Drink! – for once dead you shall never return.

Bertrand Russell – In Praise of Idleness

This old essay is a must-read for modern humans. We are so preoccupied with our work, our phones, and all the media input we drown in our business. Bertrand Russell tells you to chill out a bit – maybe it will do you some good.

James Baldwin – Stranger in the Village

It’s an essay on the author’s experiences as an African-American in a Swiss village, exploring race, identity, and alienation while highlighting the complexities of racial dynamics and the quest for belonging.

Bonus – More writing tips from two great books

The mission to improve my writing skills took me further than just going through the essays. I’ve come across some great books on writing too. I highly recommend you read them in their entirety. They’re written beautifully and contain lots of useful knowledge. Below you’ll find random (but useful) notes that I took from The Sense of Style and On Writing.

The Sense of Style – By Steven Pinker

• Style manuals are full of inconsistencies. Following their advice might not be the best idea. They might make your prose boring.
• Grammarians from all eras condemn students for not knowing grammar. But it just evolves. It cannot be rigid.
• “Nothing worth learning can be taught” – Oscar Wilde. It’s hard to learn to write from a manual – you have to read, write, and analyze.
• Good writing makes you imagine things and feel them for yourself – use word pictures.
• Don’t fear using voluptuous words.
• Phonesthetics – or how the words sound.
• Use parallel language (consistency of tense).
• Good writing finishes strong.
• Write to someone. Never write for no one in mind. Try to show people your view of the world.
• Don’t tell everything you are going to say in summary (signposting) – be logical, but be conversational.
• Don’t be pompous.
• Don’t use quotation marks where they don’t “belong”. Be confident about your style.
• Don’t hedge your claims (research first, and then tell it like it is).
• Avoid clichés and meta-concepts (concepts about concepts). Be more straightforward!
• Not prevention – but prevents or prevented – don’t use dead nouns.
• Be more vivid while using your mother tongue – don’t use passive where it’s not needed. Direct the reader’s gaze to something in the world.
• The curse of knowledge – the reader doesn’t know what you know – beware of that.
• Explain technical terms.
• Use examples when you explain a difficult term.
• If you ever say “I think I understand this” it probably means you don’t.
• It’s better to underestimate the lingo of your readers than to overestimate it.
• Functional fixedness – if we know some object (or idea) well, we tend to see it in terms of usage, not just as an object.
• Use concrete language instead of an abstraction.
• Show your work to people before you publish (get feedback!).
• Wait for a few days and then revise, revise, revise. Think about clarity and the sound of sentences. Then show it to someone. Then revise one more time. Then publish (if it’s to be serious work).
• Look at it from the perspective of other people.
• Omit needless words.
• Put the heaviest words at the end of the sentence.
• It’s good to use the passive, but only when appropriate.
• Check all text for cohesion. Make sure that the sentences flow gently.
• In expository work, go from general to more specific. But in journalism start from the big news and then give more details.
• Use the paragraph break to give the reader a moment to take a breath.
• Use the verb instead of a noun (make it more active) – not “cancellation”, but “canceled”. But after you introduce the action, you can refer to it with a noun.
• Avoid too many negations.
• If you write about why something is so, don’t spend too much time writing about why it is not.

On Writing Well – By William Zinsser

• Writing is a craft. You need to sit down every day and practice your craft.
• You should re-write and polish your prose a lot.
• Throw out all the clutter. Don’t keep it because you like it. Aim for readability.
• Look at the best examples of English literature . There’s hardly any needless garbage there.
• Use shorter expressions. Don’t add extra words that don’t bring any value to your work.
• Don’t use pompous language. Use simple language and say plainly what’s going on (“because” equals “because”).
• The media and politics are full of cluttered prose (because it helps them to cover up for their mistakes).
• You can’t add style to your work (and especially, don’t add fancy words to create an illusion of style). That will look fake. You need to develop a style.
• Write in the “I” mode. Write to a friend or just for yourself. Show your personality. There is a person behind the writing.
• Choose your words carefully. Use the dictionary to learn different shades of meaning.
• Remember about phonology. Make music with words .
• The lead is essential. Pull the reader in. Otherwise, your article is dead.
• You don’t have to make the final judgment on any topic. Just pick the right angle.
• Do your research. Not just obvious research, but a deep one.
• When it’s time to stop, stop. And finish strong. Think about the last sentence. Surprise them.
• Use quotations. Ask people. Get them talking.
• If you write about travel, it must be significant to the reader. Don’t bother with the obvious. Choose your words with special care. Avoid travel clichés at all costs. Don’t tell that the sand was white and there were rocks on the beach. Look for the right detail.
• If you want to learn how to write about art, travel, science, etc. – read the best examples available. Learn from the masters.
• Concentrate on one big idea (“Let’s not go peeing down both legs”).
• “The reader has to feel that the writer is feeling good.”
• One very helpful question: “What is the piece really about?” (Not just “What the piece is about?”)

Now immerse yourself in the world of essays

By reading the essays from the list above, you’ll become a better writer , a better reader, but also a better person. An essay is a special form of writing. It is the only literary form that I know of that is an absolute requirement for career or educational advancement. Nowadays, you can use an AI essay writer or an AI essay generator that will get the writing done for you, but if you have personal integrity and strong moral principles, avoid doing this at all costs. For me as a writer, the effect of these authors’ masterpieces is often deeply personal. You won’t be able to find the beautiful thoughts they contain in any other literary form. I hope you enjoy the read and that it will inspire you to do your writing. This list is only an attempt to share some of the best essays available online. Next up, you may want to check the list of magazines and websites that accept personal essays .

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The 10 Best Essay Collections of the Decade

Ever tried. ever failed. no matter..

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

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

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

The Top Ten

Oliver sacks, the mind’s eye (2010).

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

John Jeremiah Sullivan, Pulphead (2011)

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

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

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

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

Aleksandar Hemon, The Book of My Lives (2013)

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

Robin Wall Kimmerer, Braiding Sweetgrass (2013)

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

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

Hilton Als, White Girls (2013)

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

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

Eula Biss, On Immunity (2014)

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

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

Rebecca Solnit, The Mother of All Questions (2016)

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

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

Valeria Luiselli, Tell Me How It Ends (2017)

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

Zadie Smith, Feel Free (2018)

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

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

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

Dissenting Opinions

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

Elif Batuman, The Possessed (2010)

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

Roxane Gay, Bad Feminist (2014)

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

Rivka Galchen, Little Labors (2016)

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

Charlie Fox, This Young Monster (2017)

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

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

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

Elena Passarello, Animals Strike Curious Poses (2017)

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

Esmé Weijun Wang, The Collected Schizophrenias (2019)

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

Ross Gay, The Book of Delights (2019)

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

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

Honorable Mentions

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

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

Emily Temple

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The Ten Best American Essays Since 1950, According to Robert Atwan

in Books , Literature | November 15th, 2012 3 Comments

“Essays can be lots of things, maybe too many things,” writes Atwan in his fore­ward to the 2012 install­ment in the Best Amer­i­can series, “but at the core of the genre is an unmis­tak­able recep­tiv­i­ty to the ever-shift­ing process­es of our minds and moods. If there is any essen­tial char­ac­ter­is­tic we can attribute to the essay, it may be this: that the truest exam­ples of the form enact that ever-shift­ing process, and in that enact­ment we can find the basis for the essay’s qual­i­fi­ca­tion to be regard­ed seri­ous­ly as imag­i­na­tive lit­er­a­ture and the essay­ist’s claim to be tak­en seri­ous­ly as a cre­ative writer.”

In 2001 Atwan and Joyce Car­ol Oates took on the daunt­ing task of trac­ing that ever-shift­ing process through the pre­vi­ous 100 years for  The Best Amer­i­can Essays of the Cen­tu­ry . Recent­ly Atwan returned with a more focused selec­tion for  Pub­lish­ers Week­ly :  “The Top 10 Essays Since 1950.”  To pare it all down to such a small num­ber, Atwan decid­ed to reserve the “New Jour­nal­ism” cat­e­go­ry, with its many mem­o­rable works by Tom Wolfe, Gay Talese, Michael Herr and oth­ers, for some future list. He also made a point of select­ing the best essays , as opposed to exam­ples from the best essay­ists. “A list of the top ten essay­ists since 1950 would fea­ture some dif­fer­ent writ­ers.”

We were inter­est­ed to see that six of the ten best essays are avail­able for free read­ing online. Here is Atwan’s list, along with links to those essays that are on the Web:

• James Bald­win, “Notes of a Native Son,” 1955 (Read it here .)
• Nor­man Mail­er, “The White Negro,” 1957 (Read it here .)
• Susan Son­tag, “Notes on ‘Camp,’ ” 1964 (Read it here .)
• John McPhee, “The Search for Mar­vin Gar­dens,” 1972 (Read it here with a sub­scrip­tion.)
• Joan Did­ion, “The White Album,” 1979
• Annie Dil­lard, “Total Eclipse,” 1982
• Phillip Lopate, “Against Joie de Vivre,” 1986 (Read it here .)
• Edward Hoagland, “Heav­en and Nature,” 1988
• Jo Ann Beard, “The Fourth State of Mat­ter,” 1996 (Read it here .)
• David Fos­ter Wal­lace, “Con­sid­er the Lob­ster,” 2004 (Read it here  in a ver­sion dif­fer­ent from the one pub­lished in his 2005 book of the same name.)

“To my mind,” writes Atwan in his arti­cle, “the best essays are deeply per­son­al (that does­n’t nec­es­sar­i­ly mean auto­bi­o­graph­i­cal) and deeply engaged with issues and ideas. And the best essays show that the name of the genre is also a verb, so they demon­strate a mind in process–reflecting, try­ing-out, essay­ing.”

To read more of Atwan’s com­men­tary, see his  arti­cle in Pub­lish­ers Week­ly .

The pho­to above of Susan Son­tag was tak­en by Peter Hujar in 1966.

Relat­ed Con­tent:

30 Free Essays & Sto­ries by David Fos­ter Wal­lace on the Web

by Mike Springer | Permalink | Comments (3) |

Related posts:

Comments (3), 3 comments so far.

Check out Michael Ven­tu­ra’s HEAR THAT LONG SNAKE MOAN: The VooDoo Ori­gins of Rock n’ Roll

Wow I think there’s oth­er greater ones out there. Just need to find them.

Boise mul­ber­ry bags uk http://www.cool-mulberrybags.info/

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The Best George Orwell Essays Everyone Should Read

By Dr Oliver Tearle (Loughborough University)

George Orwell (1903-50) is known around the world for his satirical novella Animal Farm and his dystopian novel Nineteen Eighty-Four , but he was arguably at his best in the essay form. Below, we’ve selected and introduced ten of Orwell’s best essays for the interested newcomer to his non-fiction, but there are many more we could have added. What do you think is George Orwell’s greatest essay?

1. ‘ Why I Write ’.

This 1946 essay is notable for at least two reasons: one, it gives us a neat little autobiography detailing Orwell’s development as a writer; and two, it includes four ‘motives for writing’ which break down as egoism (wanting to seem clever), aesthetic enthusiasm (taking delight in the sounds of words etc.), the historical impulse (wanting to record things for posterity), and the political purpose (wanting to ‘push the world in a certain direction’).

2. ‘ Politics and the English Language ’.

The English language is ‘in a bad way’, Orwell argues in this famous essay from 1946. As its title suggests, Orwell identifies a link between the (degraded) English language of his time and the degraded political situation: Orwell sees modern political discourse as being less a matter of words chosen for their clear meanings than a series of stock phrases slung together.

Orwell concludes with six rules or guidelines for political writers and essayists, which include: never use a long word when a short one will do, or a specialist or foreign term when a simpler English one should suffice.

We have analysed this classic essay here .

3. ‘ Shooting an Elephant ’.

This is an early Orwell essay, from 1936. In it, he recalls his (possibly fictionalised) experiences as a police officer in Burma, when he had to shoot an elephant that had got out of hand. Orwell extrapolates from this one event, seeing it as a microcosm of imperialism, wherein the coloniser loses his humanity and freedom through oppressing others.

We have analysed this essay here .

4. ‘ Decline of the English Murder ’.

In this 1946 essay, Orwell writes about the British fascination with murder, focusing in particular on the period of 1850-1925, which Orwell identifies as the golden age or ‘great period in murder’ in the media and literature. But what has happened to murder in the British newspapers?

Orwell claims that the Second World War has desensitised people to brutal acts of killing, but also that there is less style and art in modern murders. Oscar Wilde would no doubt agree with Orwell’s point of view!

5. ‘ Confessions of a Book Reviewer ’.

This 1946 essay makes book-reviewing as a profession or trade – something that seems so appealing and aspirational to many book-lovers – look like a life of drudgery. Why, Orwell asks, does virtually every book that’s published have to be reviewed? It would be best, he argues, to be more discriminating and devote more column inches to the most deserving of books.

6. ‘ A Hanging ’.

This is another Burmese recollection from Orwell, and a very early work, dating from 1931. Orwell describes a condemned criminal being executed by hanging, using this event as a way in to thinking about capital punishment and how, as Orwell put it elsewhere, a premeditated execution can seem more inhumane than a thousand murders.

We discuss this Orwell essay in more detail here .

7. ‘ The Lion and the Unicorn ’.

Subtitled ‘Socialism and the English Genius’, this is another essay Orwell wrote about Britain in the wake of the outbreak of the Second World War. Published in 1941, this essay takes its title from the heraldic symbols for England (the lion) and Scotland (the unicorn). Orwell argues that some sort of socialist revolution is needed to wrest Britain out of its outmoded ways and an overhaul of the British class system will help Britain to defeat the Nazis.

The long essay contains a section, ‘England Your England’, which is often reprinted as a standalone essay, written as the German bomber planes were whizzing overhead during the Blitz of 1941. This part of the essay is a critique of blind English patriotism during wartime and an attempt to pin down ‘English’ values at a time when England itself was under threat from Nazi invasion.

8. ‘ My Country Right or Left ’.

This 1940 essay shows what a complex and nuanced thinker Orwell was when it came to political labels such as ‘left-wing’ and ‘right-wing’. Although Orwell was on the left, he also held patriotic (although not exactly fervently nationalistic) attitudes towards England which many of his comrades on the left found baffling.

As with ‘England Your England’ above, the wartime context is central to Orwell’s argument, and lends his discussion of the relationship between left-wing politics and patriotic values an urgency and immediacy.

9. ‘ Bookshop Memories ’.

As well as writing on politics and being a writer, Orwell also wrote perceptively about readers and book-buyers – as in this 1936 essay, published the same year as his novel Keep the Aspidistra Flying , which combined both bookshops and writers (the novel focuses on Gordon Comstock, an aspiring poet).

In ‘Bookshop Memories’, reflecting on his own time working as an assistant in a bookshop, Orwell divides those who haunt bookshops into various types: the snobs after a first edition, the Oriental students, and so on.

10. ‘ A Nice Cup of Tea ’.

Orwell didn’t just write about literature and politics. He also wrote about things like the perfect pub, and how to make the best cup of tea, for the London Evening Standard in the late 1940s. Here, in this essay from 1946, Orwell offers eleven ‘golden rules’ for making a tasty cuppa, arguing that people disagree vehemently how to make a perfect cup of tea because it is one of the ‘mainstays of civilisation’. Hear, hear.

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3 thoughts on “The Best George Orwell Essays Everyone Should Read”

Thanks, Orwell was a master at combining wisdom and readability. I also like his essay on Edward Lear, although some of his observations are very much of their time: https://edwardleartrail.wordpress.com/2018/10/16/george-orwell-on-edward-lear/

The Everyman edition of Orwell’s essays (1200 pages !) is my desert island book. I like Shooting the Elephant altho Julian Barnes seems to believe this is fictitious. Is this still a live debate ?

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The 7 Best Descriptive Writers of All Time

Description offers an excellent place for budding writers to start, but the art of writing description well can be more difficult than anticipated.

It takes a lot of skill and nuance to capture different characters and settings accurately through language, and to craft descriptions your readers visualize, remember and long to revisit.

The best descriptive writers are Marilynne Robinson, Robert Macfarlane, Barry Lopez, Virginia Woolf, Lucy Maud Montgomery, Ernest Hemingway and Marcel Proust. Each of these writers completely understands how to convey a vision through words without losing their reader along the way. 

Marilynne Robinson

Image: Christian Scott Heinen Bell

If you’re after masterful descriptions not only of place, but also of people, Robinson offers each.

Her novel, Gilead, for example, describes not only a small American town, but the life and remarkable experiences of a man struggling with loneliness, faith and hostility.

Writers looking to understand how voice and description come together to generate feeling within a reader are likely to benefit from reading Robinson, who exhibits particular strength when describing personal hardship and the relationship her characters have to place. 

Robert Macfarlane and Barry Lopez

In the tradition of the great Henry David Thoreau’s chronicle Walden, Macfarlane and Lopez both describe the natural world and the different permutations of wilderness and landscapes most familiar to them.

These are, for Macfarlane, the moorlands, fields, mountains and hills of the United Kingdom, and for Lopez, the deserts, canyons and rivers of the United States.

Macfarlane and Lopez are both widely respected for the contributions they have made to our understanding of and desire to protect these environments through their descriptive efforts.

Virginia Woolf

Woolf offers descriptions which are not only powerful for how they circle complex emotions and social circumstances, but also often deeply abstract.

In her descriptions, Woolf often focalizes a single physical object or site of attention, but extrapolates the effect this object or site has upon her protagonist to a broader description of their mental landscape the impact on their assessment of other characters.

If you want to see a writer stretch the affective power of description to the limit, take a look at Woolf’s descriptive passages.

Lucy Maud Montgomery

Montgomery brings us some of the most original, blue-sky descriptions of setting, endlessly nostalgic descriptions of daily routines, and of fabrics, and astute descriptions of thoroughly endearing characters.

Montgomery wrote the Anne of Green Gables series seemingly to allow herself opportunities to relish through language the beauty and splendor of her own native Prince Edward Island.

The plants and scenery of the setting come to life for readers under the descriptive power of Anne’s young mind, and Montgomery’s pen. 

Ernest Hemingway

Turn, on any given day, to any of Hemingway’s passages of description, and you’ll find the scene unfold as though entirely contemporary to you.

Hemingway demonstrates a special ability, perhaps the strongest mentioned here on the list, to describe things as they are.

His descriptions are also entirely timeless and read as opulent, though he uses plain, unadorned language.

For those who want to learn to write description well, look to Hemingway and spend time with his descriptive passages. 

Marcel Proust

In many ways stylistically different from Hemingway, Proust has mastered a different kind of sumptuous description.

Proust lingers on the details of a room, the sensations of a memory.

He recalls and reiterates the emotions which accompany sensory experience, and he’s not afraid to extend his description of a single moment or event over many pages.

Where Hemingway’s descriptions read with a timeless quality, Proust’s descriptions seem to defy time altogether, disrupting the passage of time within his own novels to relay luxurious, but always searchingly honest descriptions of significant moments and objects. 

We hope you’ve enjoyed these recommendations of writers who write description and descriptive passages particularly well.

If you’re interested in writing powerful descriptions, you are likely to enjoy reading Dreaming by the Book by Elaine Scarry, a guide to crafting spaces and sensations within your writing through the poetic, clever and thoughtful use of language, and of specific techniques Scarry, a professor of aesthetics at Harvard, recommends.

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Nonfiction Books » Essays

The best essays: the 2021 pen/diamonstein-spielvogel award, recommended by adam gopnik.

WINNER OF the 2021 PEN/Diamonstein-Spielvogel Award for the Art of the Essay

Had I Known: Collected Essays by Barbara Ehrenreich

Every year, the judges of the PEN/Diamonstein-Spielvogel Award for the Art of the Essay search out the best book of essays written in the past year and draw attention to the author's entire body of work. Here, Adam Gopnik , writer, journalist and PEN essay prize judge, emphasizes the role of the essay in bearing witness and explains why the five collections that reached the 2021 shortlist are, in their different ways, so important.

Interview by Benedict King

Unfinished Business: Notes of a Chronic Re-Reader by Vivian Gornick

Nature Matrix: New and Selected Essays by Robert Michael Pyle

Terroir: Love, Out of Place by Natasha Sajé

Maybe the People Would be the Times by Luc Sante

1 Had I Known: Collected Essays by Barbara Ehrenreich

2 unfinished business: notes of a chronic re-reader by vivian gornick, 3 nature matrix: new and selected essays by robert michael pyle, 4 terroir: love, out of place by natasha sajé, 5 maybe the people would be the times by luc sante.

W e’re talking about the books shortlisted for the 2021 PEN/Diamonstein-Spielvogel Award for the Art of the Essay . As an essayist yourself, or as a reader of essays, what are you looking for? What’s the key to a good essay ?

Let’s turn to the books that made the shortlist of the 2021 PEN Award for the Art of the Essay. The winning book was Had I Known: Collected Essays by Barbara Ehrenreich , whose books have been recommended a number of times on Five Books. Tell me more. 

One of the criteria for this particular prize is that it should be not just for a single book, but for a body of work. One of the things we wanted to honour about Barbara Ehrenreich is that she has produced a remarkable body of work. Although it’s offered in a more specifically political register than some essayists, or that a great many past prize winners have practised, the quiddity of her work is that it remains rooted in personal experience, in the act of bearing witness. She has a passionate political point to make, certainly, a series of them, many seeming all the more relevant now than when she began writing. Nonetheless, her writing still always depends on the intimacy of first-hand knowledge, what people in post-incarceration work call ‘lived experience’ (a term with a distinguished philosophical history). Her book Nickel and Dimed is the classic example of that. She never writes from a distance about working-class life in America. She bears witness to the nature and real texture of working-class life in America.

“One point of giving awards…is to keep passing the small torches of literary tradition”

Next up of the books on the 2021 PEN essay prize shortlist is Unfinished Business: Notes of a Chronic Re-Reader by Vivian Gornick.

Vivian Gornick is a writer who’s been around for a very long time. Although longevity is not in itself a criterion for excellence—or for this prize, or in the writing life generally—persistence and perseverance are. Writers who keep coming back at us, again and again, with a consistent vision, are surely to be saluted. For her admirers, her appetite to re-read things already read is one of the most attractive parts of her oeuvre , if I can call it that; her appetite not just to read but to read deeply and personally. One of the things that people who love her work love about it is that her readings are never academic, or touched by scholarly hobbyhorsing. They’re readings that involve the fullness of her experience, then applied to literature. Although she reads as a critic, she reads as an essayist reads, rather than as a reviewer reads. And I think that was one of the things that was there to honour in her body of work, as well.

Is she a novelist or journalist, as well?

Let’s move on to the next book which made the 2021 PEN essay shortlist. This is Nature Matrix: New and Selected Essays by Robert Michael Pyle.

I have a special reason for liking this book in particular, and that is that it corresponds to one of the richest and oldest of American genres, now often overlooked, and that’s the naturalist essay. You can track it back to Henry David Thoreau , if not to Ralph Waldo Emerson , this American engagement with nature , the wilderness, not from a narrowly scientific point of view, nor from a purely ecological or environmental point of view—though those things are part of it—but again, from the point of view of lived experience, of personal testimony.

Let’s look at the next book on the shortlist of the 2021 PEN Awards, which is Terroir: Love, Out of Place by Natasha Sajé. Why did these essays appeal?

One of the things that was appealing about this book is that’s it very much about, in every sense, the issues of the day: the idea of place, of where we are, how we are located on any map as individuals by ethnic identity, class, gender—all of those things. But rather than being carried forward in a narrowly argumentative way, again, in the classic manner of the essay, Sajé’s work is ruminative. It walks around these issues from the point of view of someone who’s an expatriate, someone who’s an émigré, someone who’s a world citizen, but who’s also concerned with the idea of ‘terroir’, the one place in the world where we belong. And I think the dialogue in her work between a kind of cosmopolitanism that she has along with her self-critical examination of the problem of localism and where we sit on the world, was inspiring to us.

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Last of the books on the shortlist for the 2021 Pen essay award is Maybe the People Would Be the Times by Luc Sante.

Again, here’s a writer who’s had a distinguished generalised career, writing about lots of places and about lots of subjects. In the past, he’s made his special preoccupation what he calls ‘low life’, but I think more broadly can be called the marginalized or the repressed and abject. He’s also written acute introductions to the literature of ‘low life’, the works of Asbury and David Maurer, for instance.

But I think one of the things that was appealing about what he’s done is the sheer range of his enterprise. He writes about countless subjects. He can write about A-sides and B-sides of popular records—singles—then go on to write about Jacques Rivette’s cinema. He writes from a kind of private inspection of public experience. He has a lovely piece about tabloid headlines and their evolution. And I think that omnivorous range of enthusiasms and passions is a stirring reminder in a time of specialization and compartmentalization of the essayist’s freedom to roam. If Pyle is in the tradition of Thoreau, I suspect Luc Sante would be proud to be put in the tradition of Baudelaire—the flaneur who walks the streets, sees everything, broods on it all and writes about it well.

One point of giving awards, with all their built-in absurdity and inevitable injustice, is to keep alive, or at least to keep passing, the small torches of literary tradition. And just as much as we’re honoring the great tradition of the naturalist essay in the one case, I think we’re honoring the tradition of the Baudelairean flaneur in this one.

April 18, 2021

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Adam Gopnik

Adam Gopnik has been a staff writer at the New Yorker since 1986. His many books include A Thousand Small Sanities: The Moral Adventure of Liberalism . He is a three time winner of the National Magazine Award for Essays & Criticism, and in 2021 was made a chevalier of the Legion d'Honneur by the French Republic.

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The Best Descriptive Writing Examples From Books!

by Stefanie Newell | Mar 21, 2021 | Tips For Writers

As a newbie writer, you may be starting to figure out your own personal style of writing. You are discovering what kind of narrator you are best with, what length of books you prefer, what genre you want to write in, along with so many other things that factor into what your books will be like and what audience they will attract. Despite all of these things, one thing that is essential in whatever you explore is descriptive writing. Descriptive writing brings your readership into your writing by taking advantage of their imaginations. In this post, you will find descriptive writing examples that will help you utilize the senses to the best of your abilities as a writer.

3 Descriptive Writing Examples

1. “In the late summer of that year we lived in a house in a village that looked across the river and the plain to the mountains. In the bed of the river there were pebbles and boulders, dry and white in the sun, and the water was clear and swiftly moving and blue in the channels. Troops went by the house and down the road and the dust they raised powdered the leaves of the trees. The trunks of the trees too were dusty and the leaves fell early that year and we saw the troops marching along the road and the dust rising and leaves, stirred by the breeze, falling and the soldiers marching and afterward the road bare and white except for the leaves.” –Ernest Hemingway, A Farewell to Arms

If you are looking for advanced descriptive writing examples, then this excerpt fits the bill. Hemingway uses only the sense of sight, but the scene is very easy to imagine. He uses things that everyone can recognize no matter who they are and he uses them to his advantage. This is what you want to strive for when using descriptive language. This is the kind of descriptive writing that would work extremely well in fiction or nonfiction, no discrimination.

2. “It was lit by thousands and thousands of candles that were floating in midair over four long tables, where the rest of the students were sitting. These tables were laid with glittering golden plates and goblets. At the top of the hall was another long table where the teachers were sitting […] The hundreds of faces staring at them looked like pale lanterns in the flickering candlelight […] Harry looked upward and saw a velvety black ceiling dotted with starts […] It was hard to believe there was a ceiling there at all, and that the Great Hall didn’t simply open on to the heavens.” –J.K. Rowling, Harry Potter and the Sorcerer’s Stone

The Harry Potter series provides lot of great descriptive writing examples due to the fact that it is meant for children. It still teaches a good lesson to newbie writers though. Sometimes, the most obvious descriptive writing is the way to go! You know your story, and sometimes that can lead to you accidently leaving out important details. Once you have finished your writing, it is always a good idea to go back and make sure you didn’t leave any descriptive language out accidentally.

3. “The flowers were unnecessary, for two o’clock a greenhouse arrived from Gatsby’s, with innumerable receptacles to contain it. An hour later the front door opened nervously, and Gatsby, in a white flannel suit, silver shirt, and gold-colored tie, hurried in. He was pale, and there were dark signs of sleeplessness beneath his eyes.” –F. Scott Fitzgerald, The Great Gatsby

This descriptive writing example is short, but it gives a lot of information to the reader in just a few words. The description of Gatsby in this instance is very easy to picture in your mind. Just the idea of him being pale with dark circles under his eyes leads the reader to imagine the face of a very tired man. You don’t always have to exhaust yourself with descriptive writing, keep it short and precise. As long as you can picture your character from your writing, your readers will be able to as well.

Using descriptive language can be challenging, especially if you are a newbie writer . So, bookmark this blog and use these descriptive writing examples as a guide if you ever need a little help with your newest creation!

Descriptive Essay

Definition of descriptive essay.

A descriptive essay , as the name implies, is a form of essay that describes something. In this genre , students are assigned the task of describing objects, things, places, experiences, persons, and situations. The students use sensory information to enable readers to use their five senses of touch, taste, smell, hearing, and sight to understand the topic of the essay.

Qualities of a Descriptive Essay

• Clear and Concise
• Use of Images
• Use of Five Senses

As far as clear and concise language is concerned, it is necessary to describe things precisely. Imagery is used to make things seem real and remarkable. The use of the five senses creates the imagery, or a mental picture, for each reader.

Difference Between a Description and a Descriptive Essay

A description could be just a paragraph, or it could be longer, as needed to fully describe the thing. However, a descriptive essay has five paragraphs. It is written in a coherent way with a good thesis statement at the end of the introduction , three body paragraphs , and a conclusion .

Examples of Descriptive Essays in Literature

Example #1:  the corner store (by eudora welty).

“Our Little Store rose right up from the sidewalk; standing in a street of family houses, it alone hadn’t any yard in front, any tree or flower bed. It was a plain frame building covered over with brick. Above the door, a little railed porch ran across on an upstairs level and four windows with shades were looking out. But I didn’t catch on to those. Running in out of the sun, you met what seemed total obscurity inside. There were almost tangible smells — licorice recently sucked in a child’s cheek, dill pickle brine1 that had leaked through a paper sack in a fresh trail across the wooden floor, ammonia-loaded ice that had been hoisted from wet croker sacks and slammed into the icebox with its sweet butter at the door, and perhaps the smell of still untrapped mice.”

This description of the “Little Store” is not only clear and concise, but also has images and sensory information about the store building.

Example #2: And the Orchestra Played On (by Joanne Lipman)

“The hinges creaked when I opened the decrepit case. I was greeted by a cascade of loose horsehair — my bow a victim of mites, the repairman later explained. It was pure agony to twist my fingers into position. But to my astonishment and that of my teenage children — who had never heard me play — I could still manage a sound. “It turned out, a few days later, that there were 100 people just like me. When I showed up at a local school for rehearsal, there they were: five decades worth of former students. There were doctors and accountants, engineers and college professors. There were people who hadn’t played in decades, sitting alongside professionals like Mr. K.’s daughter Melanie, now a violinist with the Chicago Symphony Orchestra. There were generations of music teachers.”

In the first paragraph of this descriptive excerpt, the author clearly describes the decrepit nature of the violin case, as well as the damage time has done to the bow. The second paragraph is a description of the characters , and their similarities.  Both use sensory information for effective descriptions.

Example #3: Yarn (by Koyoko Mori)

“The yellow mittens I made in seventh-grade home economics proved that I dreamed in color. For the unit on knitting, we were 1 supposed to turn in a pair of mittens. The two hands had to be precisely the same size so that when we held them together, palm to palm, no extra stitches would stick out from the thumb, the tip of the fingers, or the cuff. Somewhere between making the fourth and the fifth mitten to fulfill this requirement, I dreamed that the ball of yellow yarn in my bag had turned green. Chartreuse, leaf, Granny Smith, lime, neon, acid green. The brightness was electric. I woke up knowing that I was, once again, doomed for a D in home ec.”

See the use of colors in this paragraph by Koyoko Mori. This is called “pure description,” in that the description appeals to the senses. The use of word “brightness” in the last line is striking one.

Example #4: The Taj Mahal (by Salman Rushdie)

“And this, finally, is why the Taj Mahal must be seen: to remind us that the world is real, that the sound is truer than the echo, the original more forceful than its image in a mirror. The beauty of beautiful things is still able, in these image-saturated times, to transcend imitations. And the Taj Mahal is, beyond the power of words to say it, a lovely thing, perhaps the loveliest of things.”

Check this short description of the Taj Mahal by Salman Rushdie. This description presents a different picture of the Taj Mahal.

Function of Descriptive Essay

A descriptive essay presents a person, place, or thing, in a way that readers feel as if it is in front of their eyes, or that they are tasting it, or that they can hear it, or that they can smell it. Writers use sensory information to describe object . The object of the writer is to present a picture of something as honestly as he can.

Related posts:

• Elements of an Essay
• Narrative Essay
• Definition Essay
• Types of Essay
• Analytical Essay
• Argumentative Essay
• Cause and Effect Essay
• Critical Essay
• Expository Essay
• Persuasive Essay
• Process Essay
• Explicatory Essay
• An Essay on Man: Epistle I
• Comparison and Contrast Essay

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3.5: Descriptive Essays

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• Kathryn Crowther et al.
• Georgia Perimeter College via GALILEO Open Learning Materials

Writing a Description Essay

Choosing a subject is the first step in writing a description essay. Once you have chosen the person, place, or object you want to describe, your challenge is to write an effective thesis statement to guide your essay. The remainder of your essay describes your subject in a way that best expresses your thesis. Remember, you should have a strong sense of how you will organize your essay. Choose a strategy and stick to it. Every part of your essay should use vivid sensory details. The more you can appeal to your readers’ senses, the more they will be engaged in your essay. You can read two sample essays at the end of this section.

Sample Thesis Statement

Although Minnesota may seem drab and cold to outsiders, natives of the state find it a wonderful place to live.

We can see in this thesis statement that the writer will attempt to show the aspects of Minnesota that make it a great place to live. After detailing a thesis statement, you should come up with a list of sensory words that provide vivid detail and support the thesis. You may start by thinking about the five senses. How does your particular place look, smell, feel, taste, and sound like? How can you best describe these senses so the reader feels what you feel? By organizing the elements of descriptive language into easier to handle sections, like the five senses, you are able to more specifically engage in what elements of the description are most useful.

Order of Presentation

The writer in this case could choose to present the positive aspects of Minnesota in terms of the seasons and weather changes. The details could be presented linearly, starting with spring and going through the winter, highlighting the aspects of each season that most closely support the thesis, that Minnesota is a great place to live.

Prior to starting the essay, give some thought to the audience of your piece. Who is going to read the essay, and what effect would you like it to have upon the readers? An awareness of audience is important in choosing the level of formality you take with your writing. Knowing your audience will also help you distinguish which details to include throughout your essay. Assume that your audience knows very little or nothing about your subject matter, and include details that may seem obvious to you.

Example Audience: In this particular essay, the writer wants to show an outsider to the state why Minnesota natives are so happy to live there. The essay should help break down stereotypes for those outsiders about Minnesota’s cold weather and apparent drabness. Because the essay is designed for those who do not live in Minnesota, and maybe have never been there, it is important to include details about the state that may seem obvious to a native.

With the preparatory work complete, it is time now to begin writing your essay. Use your thesis statement to begin to construct an introductory paragraph. The introduction should set up the basis for your essay, and the thesis statement should state its purpose.

Example Introduction

Many who have not traveled to the state of Minnesota only hear of its cold weather and boring reputation. They are sure missing out on the great opportunities that Minnesota affords. Each season offers different senses that native Minnesotans and tourists know and love. Although Minnesota may seem drab and cold to outsiders, natives of the state find it a wonderful place to live.

With the introduction complete, it is time to start constructing the body paragraphs of your essay. Each body paragraph should have a central theme in itself, and that theme should be represented in a topic sentence. Consequently, each sentence of the paragraph should relate to and support the topic sentence. The body paragraphs are where the majority of the details should be given. When writing the first draft of your descriptive essay, include as many details as is reasonably possible. You can always eliminate the ones that do not serve the essay as well when you are revising your draft. In the case of the Minnesota nature essay, we have decided to set up the body paragraphs in terms of season, starting with spring.

Example Body Paragraph

Spring in Minnesota brings new life to the state after the long winter season. The rain washes the landscape clean, leaving its fresh aroma for all to enjoy. The flowers soak up the golden sun’s rays and begin to show their vibrant colors. The first birds can be seen and heard throughout the woods and fields, telling their stories in beautiful songs. The lakes begin to show their glossy finish as the ice melts away slowly under the heat of the season.

With the body paragraphs complete, it is time to bring the essay to a close with the conclusion. The conclusion should draw a conclusion based on what has been presented throughout the body of the essay. It needs to return to the thesis, but not in an overt way. The conclusion should give the reader a final sense of what the essay was meant to portray. Remember that there should not be any new material introduced in the conclusion, and the way it is worded should give the reader a sense of finality.

Example Conclusion

The variety of activities and distinct seasons found in Minnesota reveal diverse beauty of this state. As one considers the benefits of each season, it becomes clearer why so many native Minnesotans are content with their home state. Minnesota is truly a wonderful place to live.

With the essay complete, it is time to reread and revise your essay (also see revision sections of this textbook). Read your first draft and pinpoint all of the descriptor words you used. If possible, go back and add more after the ones you already used in the essay. If you can, read your essay aloud to a friend and have him/her tell you what images are vivid and what images need more development. Rework any images that are cloudy with more descriptions. Also, check to see if your descriptions have made use of all of the five senses: sound, smell, texture, sight, and taste. Repeat these steps as many times as necessary until you are happy with your product.

Sample Descriptive Essays

America's Pastime

As the sun hits my face and I breathe in the fresh air, I temporarily forget that I am at a sporting event. But, when I open my eyes and look around, I am reminded of all things American. From the national anthem to the international players on the field, all the sights and sounds of a baseball game come together like a slice of Americana pie.

First, the entrance turnstiles click and clank, and then a hallway of noise bombards me. All the fans’ voices coalesce in a chorus of sound, rising to a humming clamor. The occasional, “Programs, get your programs, here!” jumps out through the hum to get my attention. I navigate my way through the crowded walkways of the stadium, moving to the right of some people, and to the left of others, I eventually find the section number where my seat is located. As I approach my seat I hear the announcer’s voice echo around the ball park, “Attention fans. In honor of our country, please remove your caps for the singing of the national anthem.” His deep voice echoes around each angle of the park, and every word is heard again and again. The crowd sings and hums “The Star-Spangled Banner,” and I feel a surprising amount of national pride through the voices. I take my seat as the umpire shouts, “Play ball!” and the game begins.

In the fifth inning of the game, I decide to find a concessions stand. Few tastes are as American as hot dogs and soda pop, and they cannot be missed at a ball game. The smell of hot dogs carries through the park, down every aisle, and inside every concourse. They are always as unhealthy as possible, dripping in grease, while the buns are soft and always too small for the dog. The best way to wash down the Ball Park Frank is with a large soda pop, so I order both. Doing my best to balance the cold pop in one hand and the wrapped-up dog in the other, I find the nearest condiments stand to load up my hot dog. A dollop of bright green relish and chopped onions, along with two squirts of the ketchup and mustard complete the dog. As I continue the balancing act between the loaded hot dog and pop back to my seat, a cheering fan bumps into my pop hand. The pop splashes out of the cup and all over my shirt, leaving me drenched. I make direct eye contact with the man who bumped into me. He looks me in the eye, looks at my shirt, and tells me how sorry he is. I just shake my head and keep walking. “It’s all just part of the experience,” I tell myself.

Before I am able to get back to my seat, I hear the crack of a bat, followed by an uproar from the crowd. Everyone is standing, clapping, and cheering. I missed a home run. I find my aisle and ask everyone to excuse me as I slip past them to my seat. “Excuse me. Excuse me. Thank you. Thank you. Sorry,” is all I can say as I inch past each fan. Halfway to my seat I can hear discarded peanut shells crunch beneath my feet, and each step is marked with a pronounced crunch.

When I finally get to my seat I realize it is the start of the seventh inning stretch. I quickly eat my hot dog and wash it down with what is left of my soda pop. The organ starts playing and everyone begins to sing “Take Me Out to the Ball Game.” While singing the song, putting my arms around friends and family with me, I watch all the players taking the field. It is wonderful to see the overwhelming number of players on one team from around the world: Japan, the Dominican Republic, the United States, Canada, and Venezuela. I cannot help but feel a bit of national pride at this realization. Seeing the international representation on the field reminds me of the ways that Americans, though from many different backgrounds and places, still come together under common ideals. For these reasons and for the whole experience in general, going to a Major League Baseball game is the perfect way to glimpse a slice of Americana.

Student Essay

In the following student essay, notice how the writer uses sensory details to describe not only the visual appearance of Dr. Martin Luther King, Jr.’s tomb, but also the experience of visiting such a historically significant and emotionally moving monument. Pay particular attention to the organization of the description; how does the author move us around the monument and describe its characteristics? Is it effective?

Professor Smith

English 1101

11 June 2014

The King’s Tomb

The water is always so beautiful, a hypnotic shade of baby blue, with a few autumn colored leaves floating in the ripples made by the wind. This isn’t a natural body of water. No wildlife swim in the shallow waves, but this water is as full of life as any ocean. In the middle of what is fittingly called the Reflecting Pool lies the closest thing African Americans have ever had to royalty. Here lie the remains of Dr. Martin Luther King and Coretta Scott King.

Nestled between the King Center for Nonviolent Social Change and the original Ebenezer Baptist Church is a beautiful white marble monument, warmly bathed in the lights circling the tomb of our late civil rights leaders. Following Dr. King’s assassination in April 1968, he was first interred at South View Cemetery, a final resting place largely reserved for African Americans during that period. It took nearly a decade before he was exhumed and placed in the beautiful ivory stone structure that he now shares with his beloved wife Coretta. The tomb, erected in 1977, sits within the south end of the Reflecting Pool. Seemingly suspended on the bright blue water, the tomb displays scriptures that only capture a small portion of the legacy left by these great leaders. Engraved on Dr. King’s portion reads, “Free at last, Free at last, Thank God Almighty I’m free at last!” from his pivotal “I Have a Dream” speech given during the March on Washington in 1963. I can’t help but attempt to recite the mantra in my head with the same bravado and conviction as Dr. King had when he gave the speech over fifty years ago. While the saying is a beautiful incantation, fit for a King, the cost at which that freedom was attained is still heartbreaking.

In a scene reminiscent of Romeo and Juliet, Mrs. Coretta Scott King, who passed away in January 2006 after a prolonged illness, lies next to her slain husband. For a short period following her death Mrs. King was interred in a smaller yet equally beautiful tomb directly across from her late husband. Spectacular floral arrangements surrounded her tomb as scores of mourners came from afar to pay their respects to the First Lady of the Civil Rights Movement. In November 2006, she was laid to rest in a beautiful new tomb aside her husband. The words “And now abide Faith, Hope, Love, These Three, but the greatest of these is Love,” emblazon her final resting place. No truer instance could describe her legacy.

Auburn Avenue, shrouded in darkness, is void of people aside from the few vagrants that aimlessly roam the streets. Heat from the Eternal Flame warms my back as I stare off into space. The brilliant glow of the LED lights strategically placed around the tomb and the amber flicker of the Eternal Flame are the only lights that seem to suit this moment. Kneeling as if I’m preparing to pray, I take a moment to reflect. Through my clenched eyes I can hear the soft splashes of the water, the gas fueled roar of the Eternal Flame. The ambient noise of car horns, traffic and construction fade to nearly a whisper. I envision the March on Washington. I can feel the sting of water hoses pelting my black skin. I can hear the sharp sonics of police dogs barking. The feeling is overwhelming. My eyelashes clump together from the tears winning their battle against my eyelids. Nearby is a place of worship, a place where anyone can still feel the spirit of past congregations, a place where the walls hold almost as much history as any Smithsonian exhibit.

Just a few feet away sits the original Ebenezer Baptist Church, a beautiful, rustic old building left largely intact from the days of Atlanta’s past. Walking inside is like stepping into a time warp, instantly sending you to the heart of the Civil Rights Movement. With the exception of a few strategically placed speakers, the church is left in its pure form. Dr. King’s voice echoes through wooden pews playing his famous “Drum Major” speech, given during his final sermon at Ebenezer on February 4, 1968. With closed eyes, I have difficulty telling what era I am in. Given with almost Machiavellian prediction and passion, ten minutes engulfed with his powerful words makes me feel as though I’ve been baptized, born again.

Surrounded with reminders of our history’s darkest time, this place brings me peace. There’s an aura in this place. A powerful spirit that infiltrates my conscience with thoughts of struggle, loss and freedom. The reality of this place forces my mind to reevaluate my own mortality. Even with the knowledge of how Dr. King was vilified, degraded, and executed, his death serves as a shining beacon of light. A lone ray of sun through the seemingly endless cloud of racism and intolerance. Coretta’s grace, beauty and resilience in the face of unspeakable tragedy and injustice is incomparable. Her social work and philanthropy should be an influence to women of all walks of life.

The legacy that Dr. and Mrs. King leave behind is an unfulfilled one. Equality in America has improved since Dr. King’s assassination but his dream is still unrealized. There is turmoil within the King family regarding funding and management of the King Memorial, leaving the future of this serene place uncertain. Engraved on the Stone of Hope, a newly completed Martin Luther King Jr. Memorial in Washington, D.C., reads, “Out of the Mountain of Despair, a Stone of Hope.” Although we still have a mountain to climb, The King’s Tomb is surely my Stone of Hope.

External Links

Checklist of Things to Consider ( https://tinyurl.com/y7zegezs ) when writing a description.

Susan Berne visits New York and describes her impressions in " Where Nothing Says Everything " ( https://tinyurl.com/yboc9m9s ), also called "Ground Zero." Another link to the story is here ( https://tinyurl.com/y99fchlw ).

Contributors and Attributions

Adapted from  Successful College Composition (Crowther et al.) . Sourced from  LibreTexts , licensed under  CC BY-NC-SA  .

Adapted from  Let's Get Writing (Browning, DeVries, Boylan, Kurtz and Burton) . Sourced from  LibreTexts , licensed under  CC BY-NC-SA  .

Make Lists, Not War

The meta-lists website, best essays of all time – ranked.

A reader suggested I create a meta-list of the best essays of all time, so I did.  I found over 12 best essays lists and several essay anthologies and combined the essays into one meta-list.  The meta-list below includes every essay that was on at least two of the original source lists. They are organized by rank, that is, with the essays on the most lists at the top. To see the same list organized chronologically, go HERE .

Note 1:  Some of the essays are actually chapters from books.  In such cases, I have identified the source book.

Note 2: Some of the essays are book-length, such as Virginia Woolf’s A Room of One’s Own .  One book listed as an essay by two listers – Fernando Pessoa’s The Book of Disquiet – is also regularly categorized as a work of fiction.

On 11 lists James Baldwin – Notes of a Native Son (1955)

On 6 lists George Orwell – Shooting an Elephant (1936) E.B. White – Once More to the Lake (1941) Joan Didion – Goodbye To All That (1968)

On 5 lists Joan Didion – On Keeping A Notebook (1968) Annie Dillard – Total Eclipse (1982) Jo Ann Beard – The Fourth State of Matter (1996) David Foster Wallace – A Supposedly Fun Thing I Will Never Do Again (1996)

On 4 lists William Hazlitt – On the Pleasure of Hating (1823) Ralph Waldo Emerson – Self-Reliance (1841) Virginia Woolf – A Room of One’s Own (1928) Virginia Woolf – The Death of a Moth (1942) George Orwell – Such, Such Were the Joys (1952) Joan Didion – In Bed (1968) Amy Tan – Mother Tongue (1991) David Foster Wallace – Consider The Lobster (2005)

On 3 lists Jonathan Swift – A Modest Proposal  (1729) Virginia Woolf – Street Haunting: A London Adventure (1930) John McPhee – The Search for Marvin Gardens (1972) Joan Didion – The White Album (1968-1978) Eudora Welty – The Little Store (1978) Phillip Lopate – Against Joie de Vivre (1989)

On 2 lists Sei Shonagon – Hateful Things (from The Pillow Book ) (1002) Yoshida Kenko – Essays in Idleness (1332) Michel de Montaigne – On Some Verses of Virgil (1580) Robert Burton – Anatomy of Melancholy (1621) John Milton – Areopagitica  (1644) William Hazlitt – On Going a Journey (1822) Charles Lamb – The Superannuated Man (1823) Henry David Thoreau – Civil Disobedience (1849) Henry David Thoreau – Where I Lived, and What I Lived For (from  Walden ) (1854) Henry David Thoreau – Economy (from  Walden ) (1854) Henry David Thoreau – Walking (1861) Robert Louis Stevenson – The Lantern-Bearers (1888) Zora Neale Hurston – How It Feels to Be Colored Me (1928) George Orwell – A Hanging (1931) Junichiro Tanizaki – In Praise of Shadows (1933) Fernando Pessoa – The Book of Disquiet (1935) James Agee and Walker Evans – Let Us Now Praise Famous Men (1941) Simone Weil – On Human Personality (1943) M.F.K. Fisher – The Flaw (1943) Vladimir Nabokov – Speak, Memory (1951, revised 1966) Mary McCarthy – Artists in Uniform: A Story (1953) E.B. White – Goodbye to Forty-Eighth Street (1957) Martin Luther King, Jr. – Letter from Birmingham Jail (1963) Joseph Mitchell – Joe Gould’s Secret (1964) Susan Sontag – Against Interpretation (1966) Edward Hoagland – The Courage of Turtles (1970) Annie Dillard – Seeing (from  Pilgrim at Tinker Creek ) (1974) Maxine Hong Kingston – No Name Woman (from The Woman Warrior ) (1976) Roland Barthes – Camera Lucida: Reflections on Photography (1982) Annie Dillard – Living Like Weasels (1982) Gloria E. Anzaldúa – How to Tame a Wild Tongue (1987) Italo Calvino – Exactitude (1988) Richard Rodriguez – Late Victorians (1990) David Wojnarowicz – Being Queer in America: A Journal of Disintegration (1991) Seymour Krim – To My Brothers & Sisters in the Failure Business (1991) Anne Carson – The Anthropology of Water (1995) Susan Sontag – Regarding the Pain of Others (2003) Etel Adnan – In the Heart of the Heart of Another Country (2005) Paul LaFarge – Destroy All Monsters (2006) Brian Doyle – Joyas Voladoras (2012)

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The Top 10 Essays Since 1950

Robert Atwan, the founder of The Best American Essays series, picks the 10 best essays of the postwar period. Links to the essays are provided when available.

Fortunately, when I worked with Joyce Carol Oates on The Best American Essays of the Century (that’s the last century, by the way), we weren’t restricted to ten selections. So to make my list of the top ten essays since 1950 less impossible, I decided to exclude all the great examples of New Journalism--Tom Wolfe, Gay Talese, Michael Herr, and many others can be reserved for another list. I also decided to include only American writers, so such outstanding English-language essayists as Chris Arthur and Tim Robinson are missing, though they have appeared in The Best American Essays series. And I selected essays , not essayists . A list of the top ten essayists since 1950 would feature some different writers.

To my mind, the best essays are deeply personal (that doesn’t necessarily mean autobiographical) and deeply engaged with issues and ideas. And the best essays show that the name of the genre is also a verb, so they demonstrate a mind in process--reflecting, trying-out, essaying.

James Baldwin, "Notes of a Native Son" (originally appeared in Harper’s , 1955)

“I had never thought of myself as an essayist,” wrote James Baldwin, who was finishing his novel Giovanni’s Room while he worked on what would become one of the great American essays. Against a violent historical background, Baldwin recalls his deeply troubled relationship with his father and explores his growing awareness of himself as a black American. Some today may question the relevance of the essay in our brave new “post-racial” world, though Baldwin considered the essay still relevant in 1984 and, had he lived to see it, the election of Barak Obama may not have changed his mind. However you view the racial politics, the prose is undeniably hypnotic, beautifully modulated and yet full of urgency. Langston Hughes nailed it when he described Baldwin’s “illuminating intensity.” The essay was collected in Notes of a Native Son courageously (at the time) published by Beacon Press in 1955.

Norman Mailer, "The White Negro" (originally appeared in Dissent , 1957)

An essay that packed an enormous wallop at the time may make some of us cringe today with its hyperbolic dialectics and hyperventilated metaphysics. But Mailer’s attempt to define the “hipster”–in what reads in part like a prose version of Ginsberg’s “Howl”–is suddenly relevant again, as new essays keep appearing with a similar definitional purpose, though no one would mistake Mailer’s hipster (“a philosophical psychopath”) for the ones we now find in Mailer’s old Brooklyn neighborhoods. Odd, how terms can bounce back into life with an entirely different set of connotations. What might Mailer call the new hipsters? Squares?

Read the essay here .

Susan Sontag, "Notes on 'Camp'" (originally appeared in Partisan Review , 1964)

Like Mailer’s “White Negro,” Sontag’s groundbreaking essay was an ambitious attempt to define a modern sensibility, in this case “camp,” a word that was then almost exclusively associated with the gay world. I was familiar with it as an undergraduate, hearing it used often by a set of friends, department store window decorators in Manhattan. Before I heard Sontag—thirty-one, glamorous, dressed entirely in black-- read the essay on publication at a Partisan Review gathering, I had simply interpreted “campy” as an exaggerated style or over-the-top behavior. But after Sontag unpacked the concept, with the help of Oscar Wilde, I began to see the cultural world in a different light. “The whole point of camp,” she writes, “is to dethrone the serious.” Her essay, collected in Against Interpretation (1966), is not in itself an example of camp.

John McPhee, "The Search for Marvin Gardens" (originally appeared in The New Yorker , 1972)

“Go. I roll the dice—a six and a two. Through the air I move my token, the flatiron, to Vermont Avenue, where dog packs range.” And so we move, in this brilliantly conceived essay, from a series of Monopoly games to a decaying Atlantic City, the once renowned resort town that inspired America’s most popular board game. As the games progress and as properties are rapidly snapped up, McPhee juxtaposes the well-known sites on the board—Atlantic Avenue, Park Place—with actual visits to their crumbling locations. He goes to jail, not just in the game but in fact, portraying what life has now become in a city that in better days was a Boardwalk Empire. At essay’s end, he finds the elusive Marvin Gardens. The essay was collected in Pieces of the Frame (1975).

Read the essay here (subscription required).

Joan Didion, "The White Album" (originally appeared in New West , 1979)

Huey Newton, Eldridge Cleaver, and the Black Panthers, a recording session with Jim Morrison and the Doors, the San Francisco State riots, the Manson murders—all of these, and much more, figure prominently in Didion’s brilliant mosaic distillation (or phantasmagoric album) of California life in the late 1960s. Yet despite a cast of characters larger than most Hollywood epics, “The White Album” is a highly personal essay, right down to Didion’s report of her psychiatric tests as an outpatient in a Santa Monica hospital in the summer of 1968. “We tell ourselves stories in order to live,” the essay famously begins, and as it progresses nervously through cuts and flashes of reportage, with transcripts, interviews, and testimonies, we realize that all of our stories are questionable, “the imposition of a narrative line upon disparate images.” Portions of the essay appeared in installments in 1968-69 but it wasn’t until 1979 that Didion published the complete essay in New West magazine; it then became the lead essay of her book, The White Album (1979).

Annie Dillard, "Total Eclipse" (originally appeared in Antaeus , 1982)

In her introduction to The Best American Essays 1988 , Annie Dillard claims that “The essay can do everything a poem can do, and everything a short story can do—everything but fake it.” Her essay “Total Eclipse” easily makes her case for the imaginative power of a genre that is still undervalued as a branch of imaginative literature. “Total Eclipse” has it all—the climactic intensity of short fiction, the interwoven imagery of poetry, and the meditative dynamics of the personal essay: “This was the universe about which we have read so much and never before felt: the universe as a clockwork of loose spheres flung at stupefying, unauthorized speeds.” The essay, which first appeared in Antaeus in 1982 was collected in Teaching a Stone to Talk (1982), a slim volume that ranks among the best essay collections of the past fifty years.

Phillip Lopate, "Against Joie de Vivre" (originally appeared in Ploughshares , 1986)

This is an essay that made me glad I’d started The Best American Essays the year before. I’d been looking for essays that grew out of a vibrant Montaignean spirit—personal essays that were witty, conversational, reflective, confessional, and yet always about something worth discussing. And here was exactly what I’d been looking for. I might have found such writing several decades earlier but in the 80s it was relatively rare; Lopate had found a creative way to insert the old familiar essay into the contemporary world: “Over the years,” Lopate begins, “I have developed a distaste for the spectacle of joie de vivre , the knack of knowing how to live.” He goes on to dissect in comic yet astute detail the rituals of the modern dinner party. The essay was selected by Gay Talese for The Best American Essays 1987 and collected in Against Joie de Vivre in 1989 .

Edward Hoagland, "Heaven and Nature" (originally appeared in Harper’s, 1988)

“The best essayist of my generation,” is how John Updike described Edward Hoagland, who must be one of the most prolific essayists of our time as well. “Essays,” Hoagland wrote, “are how we speak to one another in print—caroming thoughts not merely in order to convey a certain packet of information, but with a special edge or bounce of personal character in a kind of public letter.” I could easily have selected many other Hoagland essays for this list (such as “The Courage of Turtles”), but I’m especially fond of “Heaven and Nature,” which shows Hoagland at his best, balancing the public and private, the well-crafted general observation with the clinching vivid example. The essay, selected by Geoffrey Wolff for The Best American Essays 1989 and collected in Heart’s Desire (1988), is an unforgettable meditation not so much on suicide as on how we remarkably manage to stay alive.

Jo Ann Beard, "The Fourth State of Matter" (originally appeared in The New Yorker , 1996)

A question for nonfiction writing students: When writing a true story based on actual events, how does the narrator create dramatic tension when most readers can be expected to know what happens in the end? To see how skillfully this can be done turn to Jo Ann Beard’s astonishing personal story about a graduate student’s murderous rampage on the University of Iowa campus in 1991. “Plasma is the fourth state of matter,” writes Beard, who worked in the U of I’s physics department at the time of the incident, “You’ve got your solid, your liquid, your gas, and there’s your plasma. In outer space there’s the plasmasphere and the plasmapause.” Besides plasma, in this emotion-packed essay you will find entangled in all the tension a lovable, dying collie, invasive squirrels, an estranged husband, the seriously disturbed gunman, and his victims, one of them among the author’s dearest friends. Selected by Ian Frazier for The Best American Essays 1997 , the essay was collected in Beard’s award-winning volume, The Boys of My Youth (1998).

David Foster Wallace, "Consider the Lobster" (originally appeared in Gourmet , 2004)

They may at first look like magazine articles—those factually-driven, expansive pieces on the Illinois State Fair, a luxury cruise ship, the adult video awards, or John McCain’s 2000 presidential campaign—but once you uncover the disguise and get inside them you are in the midst of essayistic genius. One of David Foster Wallace’s shortest and most essayistic is his “coverage” of the annual Maine Lobster Festival, “Consider the Lobster.” The Festival becomes much more than an occasion to observe “the World’s Largest Lobster Cooker” in action as Wallace poses an uncomfortable question to readers of the upscale food magazine: “Is it all right to boil a sentient creature alive just for our gustatory pleasure?” Don’t gloss over the footnotes. Susan Orlean selected the essay for The Best American Essays 2004 and Wallace collected it in Consider the Lobster and Other Essays (2005).

Read the essay here . (Note: the electronic version from Gourmet magazine’s archives differs from the essay that appears in The Best American Essays and in his book, Consider the Lobster. )

I wish I could include twenty more essays but these ten in themselves comprise a wonderful and wide-ranging mini-anthology, one that showcases some of the most outstanding literary voices of our time. Readers who’d like to see more of the best essays since 1950 should take a look at The Best American Essays of the Century (2000).

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Descriptive Essays

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What is a descriptive essay?

The descriptive essay is a genre of essay that asks the student to describe something—object, person, place, experience, emotion, situation, etc. This genre encourages the student’s ability to create a written account of a particular experience. What is more, this genre allows for a great deal of artistic freedom (the goal of which is to paint an image that is vivid and moving in the mind of the reader).

One might benefit from keeping in mind this simple maxim: If the reader is unable to clearly form an impression of the thing that you are describing, try, try again!

Here are some guidelines for writing a descriptive essay.

• Take time to brainstorm

If your instructor asks you to describe your favorite food, make sure that you jot down some ideas before you begin describing it. For instance, if you choose pizza, you might start by writing down a few words: sauce, cheese, crust, pepperoni, sausage, spices, hot, melted, etc. Once you have written down some words, you can begin by compiling descriptive lists for each one.

• Use clear and concise language.

This means that words are chosen carefully, particularly for their relevancy in relation to that which you are intending to describe.

• Choose vivid language.

Why use horse when you can choose stallion ? Why not use tempestuous instead of violent ? Or why not miserly in place of cheap ? Such choices form a firmer image in the mind of the reader and often times offer nuanced meanings that serve better one’s purpose.

• Use your senses!

Remember, if you are describing something, you need to be appealing to the senses of the reader. Explain how the thing smelled, felt, sounded, tasted, or looked. Embellish the moment with senses.

• What were you thinking?!

If you can describe emotions or feelings related to your topic, you will connect with the reader on a deeper level. Many have felt crushing loss in their lives, or ecstatic joy, or mild complacency. Tap into this emotional reservoir in order to achieve your full descriptive potential.

• Leave the reader with a clear impression.

One of your goals is to evoke a strong sense of familiarity and appreciation in the reader. If your reader can walk away from the essay craving the very pizza you just described, you are on your way to writing effective descriptive essays.

• Be organized!

It is easy to fall into an incoherent rambling of emotions and senses when writing a descriptive essay. However, you must strive to present an organized and logical description if the reader is to come away from the essay with a cogent sense of what it is you are attempting to describe.

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Ubrechor Active Member

Excerpts of brilliant descriptive writing.

Discussion in ' Descriptive Development ' started by Ubrechor , Jun 16, 2011 .

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); I'm trying to break out of the habit I've formed over the years of supplying my writing with so many adjectives, adverbs and fancy linguistic devices that I smother the true meaning and give my potential readers literary indigestion. I know that the very greatest authors are never "too wordy", but instead take the time to choose the very best words to describe in a brief way exactly what they mean. I would really find it interesting (and I'm sure others would as well) if people all posted some of their all-time favourite descriptions from books that they've read. Could be a paragraph of description, or just one really good sentence. And it could be describing a character or a setting or a feeling, or anything really. I'm just looking for really top quality description from your favourite authors. --- I'm currently reading Writing For Pleasure And Profit by Michael Legat (which, incidentally, has some great, in-depth tips and advice for the beginner and experienced writer). One excerpt I found there was from Barbara Willard's The Sprig of Broom : "It was mid-October, the harvest well stored. The sun was as hot as if it shone in the first week of September, but a tumbling sky threw great clouds before the wind, and when the sun was obscured then all the promise of winter was in the air. But it was magic weather, a gift to sweeten the sadness of the ending year. There were still blackberries, thick and dripping with juice, but these would remain on the bushes, for by now, as it was said, the Devil had spat on them and they should not be eaten. So birds gorged themselves, and the ground and the leaves of the brambles were strewn with purple droppings. The water, half shadow and half glitter, threw back the colours of beech and bracken tossing them over the boulders like gold and copper coins." This excerpt, Legat goes on to say, "almost goes over the top in its richness - almost, but not quite , because Barbara Willard is a first-class writer and knows what she is doing." I just thought it painted such a vibrant picture of the scene in my mind that I was wondering: - how many other people have had this problem of overflowing their writing with description upon description - if anyone else had come across any similar passages whereupon they just thought "wow, that is some great descriptive writing!"  

EdFromNY Hope to improve with age Supporter Contributor

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); "Oh! but he was a tight-fisted hand at the grindstone, Scrooge! a squeezing, wrenching, grasping, scraping, clutching, covetous old sinner! Hard and sharp as a flint, from which no steel had ever struck out generous fire; secret and self-contained, and solitary as an oyster." - Charles Dickens, "A Christmas Carol"  

Declan New Member

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); Ubrechor said: ↑ I'm trying to break out of the habit I've formed over the years of supplying my writing with so many adjectives, adverbs and fancy linguistic devices that I smother the true meaning and give my potential readers literary indigestion. I know that the very greatest authors are never "too wordy", but instead take the time to choose the very best words to describe in a brief way exactly what they mean. I would really find it interesting (and I'm sure others would as well) if people all posted some of their all-time favourite descriptions from books that they've read. Could be a paragraph of description, or just one really good sentence. And it could be describing a character or a setting or a feeling, or anything really. I'm just looking for really top quality description from your favourite authors. --- I'm currently reading Writing For Pleasure And Profit by Michael Legat (which, incidentally, has some great, in-depth tips and advice for the beginner and experienced writer). One excerpt I found there was from Barbara Willard's The Sprig of Broom : "It was mid-October, the harvest well stored. The sun was as hot as if it shone in the first week of September, but a tumbling sky threw great clouds before the wind, and when the sun was obscured then all the promise of winter was in the air. But it was magic weather, a gift to sweeten the sadness of the ending year. There were still blackberries, thick and dripping with juice, but these would remain on the bushes, for by now, as it was said, the Devil had spat on them and they should not be eaten. So birds gorged themselves, and the ground and the leaves of the brambles were strewn with purple droppings. The water, half shadow and half glitter, threw back the colours of beech and bracken tossing them over the boulders like gold and copper coins." This excerpt, Legat goes on to say, "almost goes over the top in its richness - almost, but not quite , because Barbara Willard is a first-class writer and knows what she is doing." I just thought it painted such a vibrant picture of the scene in my mind that I was wondering: - how many other people have had this problem of overflowing their writing with description upon description - if anyone else had come across any similar passages whereupon they just thought "wow, that is some great descriptive writing!" Click to expand...

Suadade New Member

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); Me, I'm really more of a fan of short & snappy sentences that kind of set the scene with a few crude brush strokes so the imagination naturally fills in the rest. This often crops up in song lyrics, of course, because when writing lyrics you don't have that many words to work with. Currently I'm reading Tom Wolfe's The Bonfire of the Vanities and Tom Wolfe doesn't strike me as an author who likes saying things with a few words. Here's a description of a character that I liked, though: "Kramer liked to survey his face and his build in the mornings. What with his wide, flat features, his blunt nose, his big neck, nobody ever took him for Jewish at first. He might be Greek, Slavic, Italian, even Irish - in any event, something tough. He wasn't happy that he was balding on top, but in a way that made him look tough, too. He was balding the way a lot of professional football players were balding. And his build... But this morning he lost heart. Those powerful deltoids, those massive sloping trapezii, those tightly bunched pectorals, those curving slabs of meat, his biceps - they looked deflated. He was ****ing atrophying !" What I like about this is that it's not just a crass description of the character's appearance; the subtext details a number of things about the character as well. His neurotic relationship to his own Jewishness, his infatuation with his own perceived toughness, the thousand minor annoyances that have come with his new child (his physique isn't up to par because the baby has gotten in the way of his exercise). So, subtext, I suppose, is important. All good authors are capable of saying things without putting them into so many words, and of saying many things at once, as well. Other than that, if you really just want a straight-up description, I guess a certain beauty (as in, this is enjoyable to read) and vividness (as in, this reading makes me see what is being described in my head) of the language is what I'd look for first-hand.  

ImaginaryRobot New Member

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); I love the way Salinger can use description to capture a character in just a few words. This paragraph from his story The Laughing Man is so smooth and beautiful and manages to convey a vivid sense of the people being described as well as the narrator: Off hand, I can remember seeing just three girls in my life who struck me as having unclassifiably great beauty at first sight. One was a thin girl in a black bathing suit who was having a lot of trouble putting up an orange umbrella at aJones Beach, circa 1936. The second was a girl aboard a Caribbean cruise ship in 1939, who threw her cigarette lighter at a porpoise. And the third was the Chief's girl, Mary Hudson. I stole the general framework of that paragraph and used it in one of my own stories. Everyone in my writing group picked it as their favorite paragraph. I hated telling them where I got the idea from. Karen Russell is another writer who I would gladly steal from - though I haven't yet. Her collection of stories St. Lucy's Home for Girls Raised by Wolves is haunting and evocative without ever feeling forced. Here is a great paragraph from the story Haunting Olivia . ...I take a running leap down the pier -- "Ayyyyiii!" -- and launch over the water. It's my favorite moment: when I'm one toe away from flight and my body takes over. The choice is made, but the consequence is still just an inky shimmer beneath me. And I'm flying, I'm rushing to meet my own reflection -- Gah! Phrases like "one toe away from flight" and "just an inky shimmer" are somehow perfect in the context of the story.  

darkhaloangel Active Member

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); Anything by Angela Carter is usually very beautiful - but as an interesting piece of literature there is Jon Mcgregors If No One Speaks of Remarkable Things, which is an entirely descriptive novel.  

thewordsmith Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); Just off-hand, I can't give you a f'rinstance of of a piece of writing that particularly moved me. I can say that I have found the writing of some writers, such as Martin Cruz Smith, Kurt Vonnegut, and Ernest Hemingway to be filled with some epic bits of writing (though some of Vonnegut's work fails miserably, too) while other, more commonly lauded authors, such as Stephen King and John Grisham, to be rather pedestrian and not at all worthy of most of the accolades piled upon them. Also, if you have not read it, I found Randy Pausch's "The Last Lecture" to be quite moving on so many different levels. Full of colorful and descriptive passages as well as emotion-filled details. I loved it so much I bought dozens of copies and gave them to everyone I know last Christmas. What I find most amusing, as well as egoistically soothing is to peruse something of my own work which I have not read in a long while, come across a particularly well-phrased passage and think, "Wow! I wish I'd written that!" and then realize ... HEY! I DID! )  

Tesoro Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); I usually have the opposite problem, and in that way I'm not a very "girly" writer (it seems to me at least that writers that writes according to the topic's example are usually women) and my descriptions are more like the kind Suadade said, more about characters that scenery. more about feelings and attitude than looks and surroundings. I would like to be able to give more detailed descriptions of the milieu though, usually it is something I add with revision, because it doesn't come naturally to me while writing the scene in the first draft, even though I see it clearly in my head. (Sorry if I replied even though I had no example of descriptive writing to contribute with. )  

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); thewordsmith said: ↑ Stephen King Click to expand...

Leonardo Pisano Active Member

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); thewordsmith said: ↑ What I find most amusing, as well as egoistically soothing is to peruse something of my own work which I have not read in a long while, come across a particularly well-phrased passage and think, "Wow! I wish I'd written that!" and then realize ... HEY! I DID! ) Click to expand...

barnz New Member

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); My writing can go back and forth: Sometimes I feel I'm too sparse with description, other times I go on and on. I'll fix it in post, I think. If that's the kind of writing you like to read and want to write - stories rich in lush imagery and description - then go for it, take the Steinbeck route and spend the first hundred pages describing the setting and such. Just remember to watch your pacing and keep it relevant to the conflicts in your writing. The passage you posted didn't really do it for me however - I felt drawn out of the story. Of course, it was only a passage, if i was embedded in the book already it probably would have been fine. We're not painting a landscape though, we're writing a story. More of a pinhole camera than anything, writing needs a focus, something to ground the reader and give the story movement and conflicts. And Stephen King is lauded because he demonstrates an extraordinary understanding of human interactions and emotion, I think.  

SteamWolf New Member

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); My favorites all seem to come from Terry Pratchett and Douglas Adams as they always make for brilliant descriptive writing. Pratchett: '...the river Ankh is so polluted even an athiest could walk across it.' Very little description of the river, but it brings up a huge amount of imagination for the reader. Some of my stories have had parts pointed out by readers as being memorable which is always nice, as they seem to be things I have written off the cuff with very little planning put into them.  

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); barnz said: ↑ And Stephen King is lauded because he demonstrates an extraordinary understanding of human interactions and emotion, I think. Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); Yes, he's brilliant at one liners! Way too many to list. Though I notice his later work has been slipping into literature  

Ged New Member

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); Contains spoilers. King Renly's camp, Catelyn's viewpoint, from A Clash of Kings. .SpoilerTarget"> Spoiler Renly's battles were already coming apart as the rumors spread from mouth to mouth. The nightfires had burned low, and as the east began to lighten the immense mass of Storm's End emerged like a dream of stone while wisps of pale mist raced across the field, flying from the sun on wings of wind. Morning ghosts, she had heard Old Nan call them once, spirits returning to their graves. And Renly one of them now, gone like his brother Robert, like her own dear Ned. Click to expand...

mammamaia nit-picker-in-chief Contributor

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); one of the best at it in contemporary work is james lee burke... i'm currently reading his entire robicheaux series and reading his descriptions is like watching a 3-d movie!  

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); Some great descriptions here, guys! I love the Pratchett one-liners mammamaia said: ↑ one of the best at it in contemporary work is james lee burke... i'm currently reading his entire robicheaux series and reading his descriptions is like watching a 3-d movie! Click to expand...

LaGs Banned

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); Here's an excerpt from Nabokov's Lolita: She trembled and twitched as I kissed the corner of her parted lips and the hot lobe of her ear. A cluster of stars palely glowed above us, between the silhouettes of long thin leaves; that vibrant sky seemed as naked as she was under her light frock. I saw her face in the sky, strangely distinct, as if it emitted a faint raidiance of its own. Her legs, her lovely live legs, were not so close together, and when my hand located what it sought, a dreamy and eerie expression, half-pleasure, half-pain, came over those childish features. She sat a little higher than I, and whenever in her solitary ecstacy she was led to kiss me, her head would bend with a sleepy, soft drooping movement that was almost woeful, and her bare knees caught and compressed my wrist, and slackened again; and her quivering mouth, distorted by the acridity of some mysterious potion, with a sibilant intake of breath came near to my face. She would try to relive the pain of love by first roughly rubbing her dry lips against mine; then my darling would draw away with a nervous toss of her hair, and then again come darkly near and let me feed on her open mouth, while with a generosity that was ready to offer her everything, my heart, my throat, my entrails, I gave her to hold in her awkward fist the scepter of my passion. Click to expand...

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); ^Wow, that's some ghastly purple shizz right there. "Scepter of my passion?" TF?  

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); ubrechor... here are a few of his gems from "Sunset Limited"... they demonstrate james lee burke's power to write paragraph-long sentences you simply can't complain about being too long, yet also capture the essence of a person or a room, in a single medium-sized sentence: Just before the sun broke above the Gulf's rim, the wind, which had blown the waves with ropes of foam all night, suddenly died and the sky became as white and brightly grained as polished bone, as though all color had been bled out of the air, and the gulls that had swooped and glided over my wake lifted into the haze and the swells flattened into an undulating sheet of liquid tin dimpled by the leathery backs of stingrays. The eastern horizon was strung with rain clouds and the sun should have risen out of the water like a mist-shrouded egg yolk, but it didn't. Its red light mushroomed along the horizon, then rose into the sky as a cross, burning in the center, as though fire were trying to take the shape of a man, and the water turned the heavy dark color of blood. ------------------------ She was one of those rare women gifted with eyes that could linger briefly on yours and make you feel, rightly or wrongly, you were genuinely invited into the mystery of her life. ------------------------ All the furniture in the living room was white, the floor covered with straw mats, blond, wood-bladed ceiling fans turning overhead. Click to expand...

JeffS65 New Member

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); Catcher in the Rye: "If you really want to hear about it, the first thing you'll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don't feel like going into it, if you want to know the truth." Sets the tone straight away and no flowery language.  

Gigi_GNR Guys, come on. WAFFLE-O. Contributor

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); The Blind Assassin by Margaret Atwood blew me away with its writing. Very descriptive and almost poetic prose.  

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); Lolita is full of great descriptions. Here's one I think is particularly brilliant: One night, she managed to deceive the vicious vigilance of her family. In a nervous and slender-leaved mimosa grove at the back of their villa we found a perch on the ruins of a low stone wall. Through the darkness and the tender trees we could see the arabesques of lighted windows which, touched up by the colored inks of sensitive memory, appear to me now like playing cards--presumably because a bridge game was keeping the enemy busy. She trembled and twitched as I kissed the corner of her parted lips and the hot lobe of her ear. A cluster of stars palely glowed above us, between the silhouettes of long thin leaves; that vibrant sky seemed as naked as she was under her light frock. I saw her face in the sky, strangely distinct, as if it emitted a faint radiance of its own. Her legs, her lovely live legs, were not too close together, and when my hand located what it sought, a dreamy and eerie expression, half-pleasure, half-pain, came over those childish features. She sat a little higher than I, and whenever in her solitary ecstasy she was led to kiss me, her head would bend with a sleepy, soft, drooping movement that was almost woeful, and her bare knees caught and compressed my wrist, and slackened again; and her quivering mouth, distorted by the acridity of some mysterious potion, with a sibilant intake of breath came near to my face. She would try to relieve the pain of love by first roughly rubbing her dry lips against mine; then my darling would draw away with a nervous toss of her hair, and then again come darkly near and let me feed on her open mouth, while with a generosity that was ready to offer her everything, my heart, my throat, my entrails, I gave her to hold in her awkward fist the scepter of my passion.  

googletag.cmd.push(function() { googletag.display('funpub_c2aea620d6e97975e8735b5189a6da83'); }); with all due respect to m. nabokov, can you imagine any respected author today describing what the whole world saw trying to escape a us congressman's grey bvd's as 'the scepter of my passion'!? ;-)  

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What is a Descriptive Essay? How to Write It (with Examples)

A descriptive essay is a type of creative writing that uses specific language to depict a person, object, experience, or event. The idea is to use illustrative language to show readers what the writer wants to convey – it could be as simple as a peaceful view from the top of a hill or as horrific as living in a war zone. By using descriptive language, authors can evoke a mental image in the readers’ minds, engaging readers and leaving a lasting impression, instead of just providing a play-by-play narrative.

Note that a description and descriptive essay are not the same thing. A descriptive essay typically consists of five or more well-written paragraphs with vivid imagery that can help readers visualize the content, as opposed to a description, which is typically one or more plain paragraphs with no particular structure or appeal. If you are still unsure about how to write a compelling descriptive essay, continue reading!

Table of Contents

What is a descriptive essay, types of descriptive essay topics.

• Characteristics of descriptive essays

How to write a descriptive essay using a structured outline

Frequently asked questions.

A simple descriptive essay definition is that it is a piece of writing that gives a thorough and vivid description of an object, person, experience, or situation. It is sometimes focused more on the emotional aspect of the topic rather than the specifics. The author’s intention when writing a descriptive essay is to help readers visualize the subject at hand. Generally, students are asked to write a descriptive essay to test their ability to recreate a rich experience with artistic flair. Here are a few key points to consider when you begin writing these.

• Look for a fascinating subject

You might be assigned a topic for your descriptive essay, but if not, you must think of a subject that interests you and about which you know enough facts. It might be about an emotion, place, event, or situation that you might have experienced.

• Acquire specific details about the topic

The next task is to collect relevant information about the topic of your choice. You should focus on including details that make the descriptive essay stand out and have a long-lasting impression on the readers. To put it simply, your aim is to make the reader feel as though they were a part of the experience in the first place, rather than merely describing the subject.

• Be playful with your writing

To make the descriptive essay memorable, use figurative writing and imagery to lay emphasis on the specific aspect of the topic. The goal is to make sure that the reader experiences the content visually, so it must be captivating and colorful. Generally speaking, “don’t tell, show”! This can be accomplished by choosing phrases that evoke strong emotions and engage a variety of senses. Making use of metaphors and similes will enable you to compare different things. We will learn about them in the upcoming sections.

• Capture all the different senses

Unlike other academic articles, descriptive essay writing uses sensory elements in addition to the main idea. In this type of essay writing, the topic is described by using sensory details such as smell, taste, feel, and touch. Example “ Mahira feels most at home when the lavender scent fills her senses as she lays on her bed after a long, tiring day at work . As the candle melts , so do her worries” . It is crucial to provide sensory details to make the character more nuanced and build intrigue to keep the reader hooked. Metaphors can also be employed to explain abstract concepts; for instance, “ A small act of kindness creates ripples that transcend oceans .” Here the writer used a metaphor to convey the emotion that even the smallest act of kindness can have a larger impact.

• Maintain harmony between flavor and flow

The descriptive essay format is one that can be customized according to the topic. However, like other types of essays, it must have an introduction, body paragraphs, and a conclusion. The number of body paragraphs can vary depending on the topic and available information.

It is crucial to remember that a descriptive essay should have a specific topic and goal, such as sharing personal experiences or expressing emotions like the satisfaction of a good meal. This is accomplished by employing exact language, imagery, and figurative language to illustrate concrete features. These language devices allow the writer to craft a descriptive essay that effectively transmits a particular mood, feeling, or incident to readers while also conjuring up strong mental imagery. A descriptive essay may be creative, or it may be based on the author’s own experiences. Below is a description of a few descriptive essay examples that fit into these categories.

• Personal descriptive essay example

A personal essay can look like a descriptive account of your favorite activity, a place in your neighborhood, or an object that you value. Example: “ As I step out of the front door, the crisp morning air greets me with a gentle embrace; the big chestnut tree in front, sways in the wind as if saying hello to me. The world unfolds in a symphony of awakening colors, promising a day filled with untold possibilities that make me feel alive and grateful to be born again”.

• Imaginative descriptive essay example

You may occasionally be required to write descriptive essays based on your imagination or on subjects unrelated to your own experiences. The prompts for these kinds of creative essays could be to describe the experience of someone going through heartbreak or to write about a day in the life of a barista. Imaginative descriptive essays also allow you to describe different emotions. Example, the feelings a parent experiences on holding their child for the first time.

Characteristics of descriptive essay s

The aim of a descriptive essay is to provide a detailed and vivid description of a person, place, object, event, or experience. The main goal is to create a sensory experience for the reader. Through a descriptive essay, the reader may be able to experience foods, locations, activities, or feelings that they might not otherwise be able to. Additionally, it gives the writer a way to relate to the readers by sharing a personal story. The following is a list of the essential elements of a descriptive essay:

• Sensory details
• Clear, succinct language
• Organized structure
• Thesis statement
• Appeal to emotion

How to write a descriptive essay, with examples

Writing an engaging descriptive essay is all about bringing the subject matter to life for the reader so they can experience it with their senses—smells, tastes, and textures. The upside of writing a descriptive essay is you don’t have to stick to the confinements of formal essay writing, rather you are free to use a figurative language, with sensory details, and clever word choices that can breathe life to your descriptive essay. Let’s take a closer look at how you can use these components to develop a descriptive essay that will stand out, using examples.

• Figurative language

Have you ever heard the expression “shooting for the stars”? It refers to pushing someone to strive higher or establish lofty goals, but it does not actually mean shooting for the stars. This is an example of using figurative language for conveying strong motivational emotions. In a descriptive essay, figurative language is employed to grab attention and emphasize points by creatively drawing comparisons and exaggerations. But why should descriptive essays use metaphorical language? One it adds to the topic’s interest and humor; two, it facilitates the reader’s increased connection to the subject.

These are the five most often used figurative language techniques: personification, metaphor, simile, hyperbole, and allusion.

• Simile: A simile is a figure of speech that is used to compare two things while emphasizing and enhancing the description using terms such as “like or as.”

Example: Life is like riding a bicycle. To keep your balance, you must keep moving – Albert Einstein

• Metaphor: A metaphor are also used to draw similarities, but without using direct or literal comparisons like done in similes.   

Example: Books are the mirrors of the soul – Virginia Woolf, Between the acts

• Personification: This is the process of giving nonhuman or abstract objects human traits. Any human quality, including an emotional component, a physical attribute, or an action, can be personified.

Example: Science knows no country, because knowledge belongs to humanity, and is the torch which illuminates the world – Louis Pasteur

• Hyperbole: This is an extreme form of exaggeration, frequently impractical, and usually employed to emphasize a point or idea. It gives the character more nuance and complexity.

Example: The force will be with you, always – Star Wars

• Allusion: This is when you reference a person, work, or event without specifically mentioning them; this leaves room for the reader’s creativity.  

Example: In the text below, Robert Frost uses the biblical Garden of Eden as an example to highlight the idea that nothing, not even paradise, endures forever.

Then leaf subsides to leaf.

So Eden sank to grief,

So dawn goes down to day.

Nothing gold can stay

– Nothing Gold Can Stay by Robert Frost (1923)

Descriptive essays need a combination of figurative language and strong sensory details to make the essay more memorable. This is when authors describe the subject matter employing senses like smell, sound, touch, and taste so that the reader can relate to it better.

Example of a sensory-based descriptive essay: The earthy fragrance of freshly roasted chestnuts and the sight of bright pink, red, orange fallen leaves on the street reminded her that winter was around the corner.

• Word choice

Word choice is everything in a descriptive essay. For the description to be enchanting, it is essential to utilize the right adjectives and to carefully consider the verbs, nouns, and adverbs. Use unusual terms and phrases that offer a new viewpoint on your topic matter instead of overusing clichés like “fast as the wind” or “lost track of time,” which can make your descriptive essay seem uninteresting and unoriginal.

See the following examples:

Bad word choice: I was so happy because the sunset was really cool.

Good word choice: I experienced immense joy as the sunset captivated me with its remarkable colors and breathtaking beauty.

• Descriptive essay format and outline

Descriptive essay writing does not have to be disorganized, it is advisable to use a structured format to organize your thoughts and ensure coherent flow in your writing. Here is a list of components that should be a part of your descriptive essay outline:

• Introduction
• Opening/hook sentence
• Topic sentence
• Body paragraphs
• Concrete details
• Clincher statement

Introduction:

• Hook: An opening statement that captures attention while introducing the subject.
• Background: Includes a brief overview of the topic the descriptive essay is based on.
• Thesis statement: Clearly states the main point or purpose of the descriptive essay.

Body paragraphs: Each paragraph should have

• Topic sentence: Introduce the first aspect or feature you will describe. It informs the reader about what is coming next.
• Sensory details: Use emphatic language to appeal to the reader’s senses (sight, sound, touch, taste, and smell).
• Concrete details: These are actual details needed to understand the context of the descriptive essay.
• Supporting details: Include relevant information or examples to improve the description.

Conclusion:

• Summarize key points: Here you revisit the main features or aspects of the subject.
• Restate thesis statement: Reinforce the central impression or emotion.
• Clincher statement: Conclude with a statement that summarizes the entire essay and serve as the last words with a powerful message.

Revision and editing:

• Go over your essay to make sure it is coherent, clear, and consistent.
• Check for logical paragraph transitions by proofreading the content.
• Examine text to ensure correct grammar, punctuation, and style.
• Use the thesaurus or AI paraphrasing tools to find the right words.

A descriptive essay often consists of three body paragraphs or more, an introduction that concludes with a thesis statement, and a conclusion that summarizes the subject and leaves a lasting impression on readers.

A descriptive essay’s primary goal is to captivate the reader by writing a thorough and vivid explanation of the subject matter, while appealing to their various senses. A list of additional goals is as follows: – Spark feeling and imagination – Create a vivid experience – Paint a mental picture – Pique curiosity – Convey a mood or atmosphere – Highlight specific details

Although they both fall within the creative writing category, narrative essays and descriptive essays have different storytelling focuses. While the main goal of a narrative essay is to tell a story based on a real-life experience or a made-up event, the main goal of a descriptive essay is to vividly describe a person, location, event, or emotion.

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5 Examples of How to Write a Good Descriptive Paragraph

Disassemble good writing to see what makes It tick

• Writing Essays
• Writing Research Papers
• English Grammar
• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

A good descriptive paragraph is like a window into another world. Through the use of careful examples or details, an author can conjure a scene that vividly describes a person, place, or thing. The best descriptive writing appeals to multiple senses at once—smell, sight, taste, touch, and hearing—and is found in both fiction and nonfiction .

In their own way, each of the following writers (three of them students, two of them professional authors) have selected a belonging or a place that holds special meaning to them. After identifying that subject in a clear topic sentence , they proceed to describe it in detail while explaining its personal significance.

"A Friendly Clown"

"On one corner of my dresser sits a smiling toy clown on a tiny unicycle―a gift I received last Christmas from a close friend. The clown's short yellow hair, made of yarn, covers its ears but is parted above the eyes. The blue eyes are outlined in black with thin, dark lashes flowing from the brows. It has cherry-red cheeks, nose, and lips, and its broad grin disappears into the wide, white ruffle around its neck. The clown wears a fluffy, two-tone nylon costume. The left side of the outfit is light blue, and the right side is red. The two colors merge in a dark line that runs down the center of the small outfit. Surrounding its ankles and disguising its long black shoes are big pink bows. The white spokes on the wheels of the unicycle gather in the center and expand to the black tire so that the wheel somewhat resembles the inner half of a grapefruit. The clown and unicycle together stand about a foot high. As a cherished gift from my good friend Tran, this colorful figure greets me with a smile every time I enter my room."

Observe how the writer moves clearly from a description of the head of the clown to the body to the unicycle underneath. More than sensory details for the eyes, she provides touch, in the description that the hair is made of yarn and the suit of nylon. Certain colors are specific, as in cherry-red cheeks and light blue, and descriptions help the reader to visualize the object: the parted hair, the color line on the suit, and the grapefruit analogy. Dimensions overall help to provide the reader with the item's scale, and the descriptions of the size of the ruffle and bows on the shoes in comparison to what's nearby provide telling detail. The concluding sentence helps to tie the paragraph together by emphasizing the personal value of this gift.

"The Blond Guitar"

by Jeremy Burden

"My most valuable possession is an old, slightly warped blond guitar―the first instrument I taught myself how to play. It's nothing fancy, just a Madeira folk guitar, all scuffed and scratched and fingerprinted. At the top is a bramble of copper-wound strings, each one hooked through the eye of a silver tuning key. The strings are stretched down a long, slim neck, its frets tarnished, the wood worn by years of fingers pressing chords and picking notes. The body of the Madeira is shaped like an enormous yellow pear, one that was slightly damaged in shipping. The blond wood has been chipped and gouged to gray, particularly where the pick guard fell off years ago. No, it's not a beautiful instrument, but it still lets me make music, and for that I will always treasure it."

Here, the writer uses a topic sentence to open his paragraph then uses the following sentences to add specific details . The author creates an image for the mind's eye to travel across by describing the parts of the guitar in a logical fashion, from the strings on the head to the worn wood on the body.

He emphasizes its condition by the number of different descriptions of the wear on the guitar, such as noting its slight warp; distinguishing between scuffs and scratches; describing the effect that fingers have had on the instrument by wearing down its neck, tarnishing frets, and leaving prints on the body; listing both its chips and gouges and even noting their effects on the color of the instrument. The author even describes the remnants of missing pieces. After all that, he plainly states his affection for it.

"Gregory"

by Barbara Carter

"Gregory is my beautiful gray Persian cat. He walks with pride and grace, performing a dance of disdain as he slowly lifts and lowers each paw with the delicacy of a ballet dancer. His pride, however, does not extend to his appearance, for he spends most of his time indoors watching television and growing fat. He enjoys TV commercials, especially those for Meow Mix and 9 Lives. His familiarity with cat food commercials has led him to reject generic brands of cat food in favor of only the most expensive brands. Gregory is as finicky about visitors as he is about what he eats, befriending some and repelling others. He may snuggle up against your ankle, begging to be petted, or he may imitate a skunk and stain your favorite trousers. Gregory does not do this to establish his territory, as many cat experts think, but to humiliate me because he is jealous of my friends. After my guests have fled, I look at the old fleabag snoozing and smiling to himself in front of the television set, and I have to forgive him for his obnoxious, but endearing, habits."

The writer here focuses less on the physical appearance of her pet than on the cat's habits and actions. Notice how many different descriptors go into just the sentence about how the cat walks: emotions of pride and disdain and the extended metaphor of the dancer, including the phrases the "dance of disdain," "grace," and "ballet dancer." When you want to portray something through the use of a metaphor, make sure you are consistent, that all the descriptors make sense with that one metaphor. Don't use two different metaphors to describe the same thing, because that makes the image you're trying to portray awkward and convoluted. The consistency adds emphasis and depth to the description.

Personification is an effective literary device for giving lifelike detail to an inanimate object or an animal, and Carter uses it to great effect. Look at how much time she spends on the discussions of what the cat takes pride in (or doesn't) and how it comes across in his attitude, with being finicky and jealous, acting to humiliate by spraying, and just overall behaving obnoxiously. Still, she conveys her clear affection for the cat, something to which many readers can relate.

"The Magic Metal Tube"

by Maxine Hong Kingston

"Once in a long while, four times so far for me, my mother brings out the metal tube that holds her medical diploma. On the tube are gold circles crossed with seven red lines each―"joy" ideographs in abstract. There are also little flowers that look like gears for a gold machine. According to the scraps of labels with Chinese and American addresses, stamps, and postmarks, the family airmailed the can from Hong Kong in 1950. It got crushed in the middle, and whoever tried to peel the labels off stopped because the red and gold paint came off too, leaving silver scratches that rust. Somebody tried to pry the end off before discovering that the tube falls apart. When I open it, the smell of China flies out, a thousand-year-old bat flying heavy-headed out of the Chinese caverns where bats are as white as dust, a smell that comes from long ago, far back in the brain."

This paragraph opens the third chapter of Maxine Hong Kingston's "The Woman Warrior: Memoirs of a Girlhood Among Ghosts," a lyrical account of a Chinese-American girl growing up in California. Notice how Kingston integrates informative and descriptive details in this account of "the metal tube" that holds her mother's diploma from medical school. She uses color, shape, texture (rust, missing paint, pry marks, and scratches), and smell, where she has a particularly strong metaphor that surprises the reader with its distinctness. The last sentence in the paragraph (not reproduced here) is more about the smell; closing the paragraph with this aspect adds emphasis to it. The order of the description is also logical, as the first response to the closed object is how it looks rather than how it smells when opened.

"Inside District School #7, Niagara County, New York"

by Joyce Carol Oates

"Inside, the school smelled smartly of varnish and wood smoke from the potbellied stove. On gloomy days, not unknown in upstate New York in this region south of Lake Ontario and east of Lake Erie, the windows emitted a vague, gauzy light, not much reinforced by ceiling lights. We squinted at the blackboard, that seemed far away since it was on a small platform, where Mrs. Dietz's desk was also positioned, at the front, left of the room. We sat in rows of seats, smallest at the front, largest at the rear, attached at their bases by metal runners, like a toboggan; the wood of these desks seemed beautiful to me, smooth and of the red-burnished hue of horse chestnuts. The floor was bare wooden planks. An American flag hung limply at the far left of the blackboard and above the blackboard, running across the front of the room, designed to draw our eyes to it avidly, worshipfully, were paper squares showing that beautifully shaped script known as Parker Penmanship."

In this paragraph (originally published in "Washington Post Book World" and reprinted in ​"Faith of a Writer: Life, Craft, Art"), Joyce Carol Oates affectionately describes the one-room schoolhouse she attended from first through fifth grades. Notice how she appeals to our sense of smell before moving on to describe the layout and contents of the room. When you walk into a place, its overall smell hits you immediately, if it's pungent, even before you've taken in the whole area with your eyes. Thus this choice of chronology for this descriptive paragraph is also a logical order of narration, even though it differs from the Hong Kingston paragraph. It allows the reader to imagine the room just as if he were walking into it.

The positioning of items in relation to other items is on full display in this paragraph, to give people a clear vision of the layout of the place as a whole. For the objects inside, she uses many descriptors of what materials they are made from. Note the imagery portrayed by the use of the phrases "gauzy light," "toboggan," and "horse chestnuts." You can imagine the emphasis placed on penmanship study by the description of their quantity, the deliberate location of the paper squares, and the desired effect upon the students brought about by this location.

• Kingston, Maxine Hong. The Woman Warrior: Memoirs of a Girlhood Among Ghosts. Vintage, 1989.
• Oates, Joyce Carol. The Faith of a Writer: Life, Craft, Art. HarperCollins e-books, 2009.
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Show, Don’t Tell: Mastering the Art of Descriptive Writing

Imagine curling up with a book, eager to dive into a new world. Now, think about the difference between reading “She was sad” versus “A tear trickled down her cheek, her shoulders slumped as she gazed out the window.” It’s a subtle shift, but one of these paints a vivid picture, allowing you to feel the emotion. 

That, right there, is the magic of the “show, don’t tell” mantra every writer hears about. It’s not just a fancy rule thrown around in writing workshops—it’s the heart of storytelling, a way to invite readers inside your narrative. In a world bursting with content, descriptive writing has never been more crucial. It’s the difference between a forgettable story and one that lingers long after the last page is turned.

Understanding “Show, Don’t Tell”

“Show, don’t tell” sounds pretty self-explanatory, but let’s unpack it a bit. Essentially, it means instead of merely telling your reader that something is happening or how a character feels, you paint a picture with words. It’s about allowing readers to deduce things for themselves, through the actions, thoughts, senses, and feelings of characters, rather than directly spelling everything out for them. This approach immerses readers deeper into the story, making it a more interactive experience.

For instance, saying “The room was tense” is a direct tell. But describing how characters might avoid eye contact, how there’s a palpable silence only interrupted by the tapping of a nervous foot—that’s showing. It pulls readers into the moment, asking them to deduce the room’s atmosphere based on the cues you’ve given.

And why does this matter so much? Reader engagement. When readers are shown details, they become active participants in the story. They feel with the characters, visualize the environments, and immerse themselves in the world you’ve built. It’s like the difference between watching a movie in standard definition and 4K. Both tell the same story, but one is undeniably more vivid and memorable. By mastering the art of “showing”, writers invite their readers to not just read, but to experience the narrative.

The Power of Descriptive Writing

Descriptive writing is like the secret sauce in a bestselling novel or a blockbuster movie. It’s the reason readers feel like they’ve been transported to Hogwarts when reading Harry Potter or the desolate landscapes of Westeros in Game of Thrones. But how does it work its magic?

Firstly, descriptive writing has the potential to breathe life into scenes. Consider a setting like “a forest”. Now, contrast that with “a dense forest where sunlight barely filters through the canopy, and every step on the damp ground releases the rich, earthy aroma of decaying leaves.” Suddenly, it’s not just any forest; it’s a specific, living place that readers can visualize and almost smell.

Beyond settings, descriptions make characters leap off the page. Knowing a character is “nervous” is one thing. Watching them “twist a lock of hair around their finger, eyes darting to the exit every few minutes” makes readers feel their anxiety, creating a deeper connection.

Finally, descriptive writing morphs passive readers into active, engaged participants. Instead of just processing information, they’re feeling, visualizing, and even predicting. They’re not just reading a story; they’re living it.

Techniques to “Show” Effectively

So, we’ve established that “show, don’t tell” is a game-changer. But how do writers nail it?

• Use Strong Verbs and Specific Nouns: Swap out generic verbs for ones that pop. Instead of “She walked,” try “She strutted” or “She shuffled”. It’s also useful to be specific. Instead of “bird”, maybe it’s a “raven” or a “sparrow”.
• Harness the Five Senses: Descriptions shouldn’t be limited to what characters see. What do they hear? The distant howl of a wolf or the soft hum of a city at night? What do they smell? The acrid scent of smoke or the sweet aroma of blooming roses? By invoking multiple senses, writers create a multi-dimensional world.
• Crafting Metaphors and Similes: These literary devices are gold for “showing”. Saying “He had a lion’s courage” paints a clearer picture than just calling him brave. Or consider describing sadness as “a weight, like an anchor dragging her down”. Suddenly, the emotion has depth and tangibility.

However, a word of caution: while metaphors and similes are powerful, they should be used judiciously. Overloading prose with them can make it cumbersome and reduce their impact.

Remember, the goal of descriptive writing is to immerse readers, to make them forget they’re reading at all. By incorporating these techniques, writers can transform their stories from simple narratives into vivid, unforgettable experiences.

Examples of “Telling” vs. “Showing”

Let’s dive into some examples to really understand the difference between “telling” and “showing”.

• Showing: Her eyes darted around the dimly lit room, and she could feel her heart pounding in her chest, echoing in her ears.
• Showing: The sun painted the sky with hues of pink and orange, and birds chirped melodiously, serenading the world awake.
• Showing: His face turned a shade redder, his fists clenched, and every word that spewed out was laced with venom.
• Showing: Whenever they were apart, they’d find subtle ways to stay connected, like their matching bracelets or their secret handshake.

Now, let’s decode this a bit. In each “showing” example, there’s a vivid picture or an emotion evoked. Instead of being told how a character feels or what the setting is, readers are given details that allow them to deduce it for themselves. This not only engages their imagination but also makes the reading experience more interactive and relatable.

Benefits of Descriptive Writing

So why go through the effort of “showing” rather than just “telling”? Here are some undeniable perks:

• Enhanced Reader Immersion: Just like a virtual reality headset transports you into a game, descriptive writing pulls readers into the story. They don’t just understand what’s happening; they feel it.
• Emotional Connection: When readers are shown a character’s vulnerabilities, dreams, or fears, they form an emotional bond. They root for them, cry for them, or even get frustrated with them. It’s no longer just a story; it’s an experience.
• Enriching Plot and Character: Descriptive writing doesn’t just paint pretty pictures. It can foreshadow events, develop a character’s backstory, or provide insight into their mindset. For instance, a room described as “stark and cold, with pictures removed from walls” not only sets a mood but hints at a recent heartbreak or departure.
• Clarity without Over-explaining: A common trap writers fall into is over-explaining situations or feelings. With descriptive writing, there’s a graceful clarity. Instead of stating facts or emotions plainly, they’re illustrated, allowing readers to come to conclusions organically.

In essence, descriptive writing is a tool, and like any tool, it can elevate a craft when used correctly. For writers, it’s the difference between creating a story and creating a world.

Challenges and How to Overcome Them

Every craft has its pitfalls, and descriptive writing is no exception. Here are a few challenges writers often encounter:

• Over-Description or Purple Prose: We’ve all read that paragraph that feels more like a flowery meadow than concise storytelling. The solution? Edit ruthlessly. Ask yourself: does this description serve the story? If it doesn’t, trim it down.
• Balancing “Showing” and Plot Movement: While “showing” enriches a narrative, it shouldn’t halt the story’s pace. Ensure descriptions serve dual purposes, such as revealing character traits or foreshadowing, so the plot continues to advance.
• Avoiding Overly Ornate Language: Sometimes, in the bid to be descriptive, writers lose their story in a maze of fancy words. Remember, simplicity can be powerful. Ensure your language complements the narrative instead of overshadowing it.

Practice Exercises for Descriptive Writing

Ready to master the art of “show, don’t tell”? Try these exercises:

• Object Description: Choose an everyday object. Write a paragraph describing it without naming it, allowing its features and functions to shine.
• Emotion Without Stating It: Describe a character feeling an emotion (like sadness or excitement) without using the emotion’s name.
• Daily Observations: Incorporate “show, don’t tell” in your daily writing routine. Spend 10 minutes describing a scene from your day, focusing on sensory details.

Final Thoughts

Descriptive writing isn’t just about painting vivid pictures; it’s about diving deeper into the essence of storytelling. By “showing”, writers gift readers an experience, making stories come alive in their minds. It’s a continuous journey, one of learning and refining.

So, to all the writers out there: stay observant. Let the world around you inspire your words. And as you transfer the richness of life onto your pages, your stories will resonate profoundly, touching readers’ hearts and souls. Embrace the art, and let your words dance vividly in every reader’s imagination.

Further Reading...

Staying Inspired: Keeping Your Creative Well Full

Writing for Young Adults: Tips for Capturing the Teen Voice

A Writer’s Hour: Is There a Best Time of Day to Write?

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Blog • Perfecting your Craft

Last updated on May 31, 2022

The 40 Best Books About Writing: A Reading List for Authors

For this post, we’ve scoured the web (so you don’t have to) and asked our community of writers for recommendations on some indispensable books about writing. We've filled this list with dozens of amazing titles, all of which are great — but this list might seem intimidating. So for starters, here are our top 10 books about writing:

• On Writing by Stephen King
• The Kick-Ass Writer by Chuck Wendig
• Dreyer’s Englis h by Benjamin Dreyer
• The Elements of Style by Strunk, White, and Kalman
• The Story Grid by Shawn Coyne
• A Swim in a Pond in the Rain by George Saunders
• Bird by Bird by Anne Lamott
• Mouth Full of Blood by Toni Morrison
• How to Market a Book by Ricardo Fayet
• On Writing Well by William Zinsser

But if you're ready to get into the weeds, here are 40 of our favorite writing books.

Books about becoming a writer

1. on writing by stephen king.

Perhaps the most-cited book on this list, On Writing is part-memoir, part-masterclass from one of America’s leading authors. Come for the vivid accounts of his childhood and youth — including his extended "lost weekend" spent on alcohol and drugs in the 1980s. Stay for the actionable advice on how to use your emotions and experiences to kickstart your writing, hone your skills, and become an author. Among the many craft-based tips are King’s expert takes on plot, story, character, and more.

From the book: “Amateurs sit and wait for inspiration, the rest of us just get up and go to work.” 

2. The Kick-Ass Writer by Chuck Wendig

If you haven’t checked out Wendig’s personal blog, head over there now and bookmark it. Unfiltered, profane, and almost always right, Wendig’s become a leading voice among online writing communities in the past few years. In The Kick-Ass Writer , he offers over 1,000 pearls of wisdom for authors, ranging from express writing tips to guidance on getting published. Written to be read in short bursts, we’re sure he’d agree that this is the perfect bathroom book for writers.

From the book: “I have been writing professionally for a lucky-despite-the-number 13 years. Not once — seriously, not once ever — has anyone ever asked me where I got my writing degree… Nobody gives two ferrets fornicating in a filth-caked gym sock whether or not you have a degree… The only thing that matters is, Can you write well? ” 

3. Find Your Voice by Angie Thomas

Taking advice from famous authors is not about imitation, but about finding your own voice . Take it from someone who knows: Thomas is the New York Times #1 Bestselling author of The Hate U Give , On the Come Up , and Concrete Rose . While she’s found her calling in YA literature , she has plenty of insight into finding your own voice in your genre of choice. Written in the form of a guided journal, this volume comes with step-by-step instructions, writing prompts, and exercises especially aimed at helping younger creatives develop the strength and skills to realize their vision.

From the book: “Write fearlessly. Write what is true and real to you.” 

4. The Forest for the Trees by Betsy Lerner

Since its publication in 2000, The Forest for the Trees has remained an essential resource for authors at various stages in their careers. As an editor, Lerner gives advice not only on producing quality content, but also on how to build your career as an author and develop a winning routine — like how writers can be more productive in their creative process, how to get published , and how to publish well . 

From the book: “The world doesn't fully make sense until the writer has secured his version of it on the page. And the act of writing is strangely more lifelike than life.”

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5. How to Write Like Tolstoy by Richard Cohen

From the book: “Great writers can be inhibiting, and maybe after one has read a Scott Fitzgerald or Henry James one can’t escape imitat­ing them; but more often such writers are inspiring.”

6. Feel Free: Essays by Zadie Smith

Smith is well-known for her fiction, but she is also a prolific essay writer. In Feel Free , she has gathered several essays on recent cultural and political developments and combined them with experiences from her own life and career. In “The I Who Is Not Me”, she explores how her own lived experience comes into play in her fiction writing, and how she manages to extrapolate that to comment on contemporary social contexts, discussing race, class, and ethnicity.

From the book: “Writing exists (for me) at the intersection of three precarious, uncertain elements: language, the world, the self. The first is never wholly mine; the second I can only ever know in a partial sense; the third is a malleable and improvised response to the previous two.”

Books about language and style 

7. dreyer’s english by benjamin dreyer.

A staple book about writing well, Dreyer’s English serves as a one-stop guide to proper English, based on the knowledge that Dreyer — a senior copy editor at Random House — has accumulated throughout his career. From punctuation to tricky homophones, passive voice, and commas, the goal of these tools should be to facilitate effective communication of ideas and thoughts. Dreyer delivers this and then some, but not without its due dosage of humor and informative examples. 

From the book: “A good sentence, I find myself saying frequently, is one that the reader can follow from beginning to end, no matter how long it is, without having to double back in confusion because the writer misused or omitted a key piece of punctuation, chose a vague or misleading pronoun, or in some other way engaged in inadvertent misdirection.”

8. The Elements of Style (Illustrated) by William Strunk, Jr., E. B. White, and Maira Kalman

A perfect resource for visual learners, this illustrated edition of The Elements of Style has taken the classic style manual to a new, more accessible level but kept its main tenet intact: make every word tell. The written content by Strunk and White has long been referred to as an outline of the basic principles of style. Maira Kalman’s illustrations elevate the experience and make it a feast for both the mind and the eye. 

From the book: “A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts.”

9. Sin and Syntax by Constance Hale

If you’re looking to bring a bit of spunk into your writing, copy editor Constance Hale may hold the key . Whether you’re writing a work-related email or the next rap anthem, she has one goal: to make creative communication available to everyone by dispelling old writing myths and making every word count. Peppered with writing prompts and challenges, this book will have you itching to put pen to paper.

From the book: “Verbose is not a synonym for literary.”

10. The Sense of Style by Steven Pinker

Combining entertainment with intellectual pursuit, Pinker, a cognitive scientist and dictionary consultant, explores and rethinks language usage in the 21st century . With illustrative examples of both great and not-so-great linguistic constructions, Pinker breaks down the art of writing and gives a gentle but firm nudge in the right direction, towards coherent yet stylish prose. This is not a polemic on the decay of the English language, nor a recitation of pet peeves, but a thoughtful, challenging, and practical take on the science of communication. 

From the book: “Why is so much writing so bad, and how can we make it better? Is the English language being corrupted by texting and social media? Do the kids today even care about good writing—and why should we care?”

11. Eats, Shoots, & Leaves: The Zero Tolerance Approach to Punctuation by Lynne Truss

From the book: “A panda walks into a cafe. He orders a sandwich, eats it, then draws a gun and fires two shots in the air. "Why?" asks the confused waiter, as the panda makes towards the exit. The panda produces a badly punctuated wildlife annual and tosses it over his shoulder. "I'm a panda," he says, at the door. "Look it up." The waiter turns to the relevant entry and, sure enough, finds an explanation. Panda. Large black-and-white bear-like mammal, native to China. Eats, shoots and leaves.”

Books about story structure

12. save the cat by blake snyder.

Best known as a screenwriting manual, Save the Cat! is just as often named by authors as one of their most influential books about writing. The title comes from the tried-and-true trope of the protagonist doing something heroic in the first act (such as saving a cat) in order to win over the audience. Yes, it might sound trite to some — but others swear by its bulletproof beat sheet. More recently, there has been Save the Cat! Writes a Novel , which tailors its principles specifically to the literary crowd. (For a concise breakdown of the beat sheet, check this post out!)

From the book: “Because liking the person we go on a journey with is the single most important element in drawing us into the story.” 

13. The Story Grid by Shawn Coyne

Shawn Coyne is a veteran editor with over 25 years of publishing experience, and he knows exactly what works and what doesn’t in a story — indeed, he’s pretty much got it down to a science. The Story Grid: What Good Editors Know outlines Coyne’s original “Story Grid” evaluation technique, which both writers and editors can use to appraise, revise, and ultimately improve their writing (in order to get it ready for publication). Coyne and his friend Tim Grahl also co-host the acclaimed Story Grid podcast , another great resource for aspiring writers.

From the book: “The Story Grid is a tool with many applications. It pinpoints problems but does not emotionally abuse the writer… it is a tool to re-envision and resuscitate a seemingly irredeemable pile of paper stuck in an attack drawer, and it can inspire an original creation.”

14. Story Structure Architect by Victoria Schmidt

For those who find the idea of improvising utterly terrifying and prefer the security of structures, this book breaks down just about every kind of story structure you’ve ever heard of. Victoria Schmidt offers no less than fifty-five different creative paths for your story to follow — some of which are more unconventional, or outright outlandish than others. The level of detail here is pretty staggering: Schmidt goes into the various conflicts, subplots, and resolutions these different story structures entail — with plenty of concrete examples! Suffice to say that no matter what kind of story you’re writing, you’ll find a blueprint for it in Story Structure Architect .

From the book: “When you grow up in a Westernized culture, the traditional plot structure becomes so embedded in your subconscious that you may have to work hard to create a plot structure that deviates from it… Understand this and keep your mind open when reading [this book]. Just because a piece doesn’t conform to the model you are used to, does not make it bad or wrong.”

15. The Writer's Journey  by Christopher Vogler

Moving on, we hone in on the mythic structure. Vogler’s book, originally published in 1992, is now a modern classic of writing advice; though intended as a screenwriting textbook, its contents apply to any story of mythic proportions. In The Writer’s Journey: Mythic Structure for Writers , Vogler takes a page (literally) from Joseph Campbell’s Hero of a Thousand Faces to ruminate upon the most essential narrative structures and character archetypes of the writing craft. So if you’re thinking of drawing up an epic fantasy series full of those tropes we all know and love, this guide should be right up your alley.

From the book: “The Hero’s Journey is not an invention, but an observation. It is a recognition of a beautiful design… It’s difficult to avoid the sensation that the Hero’s Journey exists somewhere, somehow, as an external reality, a Platonic ideal form, a divine model. From this model, infinite and highly varied copies can be produced, each resonating with the essential spirit of the form.”

16. Story Genius by Lisa Cron

From the book: “We don't turn to story to escape reality. We turn to story to navigate reality.”

17. A Swim in a Pond in the Rain by George Saunders

More than just a New York Times bestseller and the winner of the Booker Prize, A Swim in a Pond in the Rain is a distillation of the MFA class on Russian short stories that Saunders has been teaching. Breaking down narrative functions and why we become immersed in a story, this is a must-read for anyone wanting to understand and nurture our continued need for fiction.

From the book: “We’re going to enter seven fastidiously constructed scale models of the world, made for a specific purpose that our time maybe doesn’t fully endorse but that these writers accepted implicitly as the aim of art—namely, to ask the big questions, questions like, How are we supposed to be living down here? What were we put here to accomplish? What should we value? What is truth, anyway, and how might we recognize it?”

Books about overcoming obstacles as a writer

18. bird by bird by anne lamott .

Like Stephen King’s book about writing craft, this work from acclaimed novelist and nonfiction writer Anne Lamott also fuses elements of a memoir with invaluable advice on the writer’s journey. Particularly known for popularizing the concept of “shitty first drafts”, Bird by Bird was recently recommended by editor Jennifer Hartmann in her Reedsy Live webinar for its outlook take on book writing. She said, “This book does exactly what it says it will do: it teaches you to become a better writer. [Lamott] is funny and witty and very knowledgeable.”

From the book: “Perfectionism is the voice of the oppressor, the enemy of the people. It will keep you cramped and insane your whole life, and it is the main obstacle between you and a shitty first draft.”

19. Take Off Your Pants by Libbie Hawker 

From the book: “When it comes to the eternal quandary of pantsing or plotting, you can keep a foot in each camp. But if your goals will require you to write with speed and confidence, an effective outline will be your best friend.”

20. Writing into the Dark by Dean Wesley Smith 

And for those who eschew structure altogether, we’ll now refer you to this title from profile science fiction author Dean Wesley Smith . Having authored a number of official Star Trek novels, he definitely knows what he’s talking about when he encourages writers to go boldly into the unknown with an approach to writing books that doesn’t necessarily involve an elaborate plan. It might not be your action plan, but it can be a fresh perspective to get out of the occasional writer’s block .

From the book: “Imagine if every novel you picked up had a detailed outline of the entire plot… Would you read the novel after reading the outline? Chances are, no. What would be the point? You already know the journey the writer is going to take you on. So, as a writer, why do an outline and then have to spend all that time creating a book you already know?”

21. No Plot, No Problem by Chris Baty

If you’re procrastinating to the point where you haven’t even started your novel yet, NaNo founder Chris Baty is your guy! No Plot, No Problem is a “low-stress, high-velocity” guide to writing a novel in just 30 days (yup, it’s great prep for the NaNoWriMo challenge ). You’ll get tons of tips on how to survive this rigorous process, from taking advantage of your initial momentum to persisting through moments of doubt . Whether you’re participating in everyone’s favorite November write-a-thon or you just want to bang out a novel that’s been in your head forever, Baty will help you cross that elusive finish line.

From the book: “A rough draft is best written in the steam-cooker of an already busy life. If you have a million things to do, adding item number 1,000,001 is not such a big deal.”

22. The 90-Day Novel by Alan Watt

And for those who think 30 days is a bit too steam cooker-esque, there’s always Alan Watt’s more laid-back option. In The 90-Day Novel , Watt provides a unique three-part process to assist you with your writing. The first part provides assistance in developing your story’s premise, the second part helps you work through obstacles to execute it, and the third part is full of writing exercises to unlock the “primal forces” of your story — aka the energy that will invigorate your work and incite readers to devour it like popcorn at the movies.

From the book: “Why we write is as important as what we write. Grammar, punctuation, and syntax are fairly irrelevant in the first draft. Get the story down… fast. Get out of your head, so you can surprise yourself on the page.”

23. The War of Art by Steven Pressfield

If you feel like you’re constantly in the trenches of your “inner creative battle,” The War of Art is the book for you. Pressfield emphasizes the importance of breaking down creative barriers — what he calls “Resistance” — in order to defeat your demons (i.e. procrastination, self-doubt, etc.) and fulfill your potential. Though some of his opinions are no doubt controversial (he makes repeated claims that almost anything can be procrastination, including going to the doctor), this book is the perfect remedy for prevaricating writers who need a little bit of tough love.

From the book: “Most of us have two lives. The life we live, and the unlived life within us. Between the two stands Resistance.”

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Books about writing as a lifestyle and career

24. steal like an artist by austin kleon.

As Kleon notes in the first section of Steal Like an Artist , this title obviously doesn’t refer to plagiarism. Rather, it acknowledges that art cannot be created in a vacuum, and encourages writers (and all other artists) to be open and receptive to all sources of inspiration. By “stealing like an artist,” writers can construct stories that already have a baseline of familiarity for readers, but with new twists that keep them fresh and exciting .

From the book: “If we’re free from the burden of trying to be completely original, we can stop trying to make something out of nothing, and we can embrace influence instead of running away from it.”

25. Mouth Full of Blood by Toni Morrison

From the book: “A writer's life and work are not a gift to mankind; they are its necessity.”

26. Writing Down the Bones by Natalie Goldberg

No matter what stage you’re at in your writing career, Goldberg’s Writing Down the Bones will help you write more skillfully and creatively. With suggestions, encouragement, and valuable advice on the many aspects of the writing craft, Goldberg doesn’t shy away from making the crucial connection between writing and adding value to your life. Covering a range of topics including taking notes of your initial thoughts, listening, overcoming doubt, choosing where to write, and the selection of your verbs, this guide has plenty to say about the minute details of writing, but excels at exploring the author life.

From the book: “Write what disturbs you, what you fear, what you have not been willing to speak about. Be willing to be split open.”

27. Zen in the Art of Writing by Ray Bradbury

What does it take to become a great author? According to the beloved writer Ray Bradbury , it takes zest, gusto, curiosity, as well as a spirit of adventure. Sharing his wisdom and experiences as one of the most prolific writers in America, Bradbury gives plenty of practical tips and tricks on how to develop ideas, find your voice, and create your own style in this thoughtful volume. In addition to that, this is also an insight into the life and mind of this prolific writer, and a celebration of the act of writing. 

From the book: “Every morning I jump out of bed and step on a land mine. The land mine is me. After the explosion, I spend the rest of the day putting the pieces back together. Now, it's your turn. Jump!”

28. The Kite and the String by Alice Mattison

One of the most common dilemmas an author faces is the struggle between spontaneity and control. Literary endeavors need those unexpected light-bulb moments, but a book will never be finished if you rely solely on inspiration. In The Kite and the String , Mattison has heard your cry for help and developed a guide for balancing these elements throughout the different stages of writing a novel or a memoir. Sure, there may be language and grammar rules that govern the way you write, but letting a bit of playfulness breathe life into your writing will see it take off to a whole new level. On the other hand, your writing routine, solitude, audience, and goal-setting will act as the strings that keep you from floating too far away. 

From the book: "Don’t make yourself miserable wishing for a kind of success that you wouldn’t enjoy if you had it."

29. How to Become a Successful Indie Author by Craig Martelle

This one’s for all the indie authors out there! Even if you’ve already self-published a book , you can still learn a lot from this guide by Craig Martelle , who has dozens of indie books — “over two and a half million words,” as he puts it — under his belt. With patience and expertise, Martelle walks you through everything you need to know: from developing your premise to perfecting your writing routine, to finally getting your work to the top of the Amazon charts.

From the book: “No matter where you are on your author journey, there’s always a new level you can reach. Roll up your sleeves, because it’s time to get to work.”

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30. How to Market a Book by Ricardo Fayet 

From the book: “Here’s the thing: authors don’t find readers; readers find books . [...] Marketing is not about selling your book to readers. It’s about getting readers to find it.”

31. Everybody Writes by Ann Handley

The full title of Handley’s all-inclusive book on writing is actually Everybody Writes: Your Go-To Guide to Creating Ridiculously Good Content — which should tell you something about its broad appeal. Not only does Handley have some great ideas on how to plan and produce a great story, but she also provides tips on general content writing, which comes in handy when it’s time to build your author platform or a mailing list to promote your book. As such, Everybody Writes is nothing like your other books on novel writing — it’ll make you see writing in a whole new light.

From the book: “In our world, many hold a notion that the ability to write, or write well, is a gift bestowed on a chosen few. That leaves us thinking there are two kinds of people: the writing haves — and the hapless, for whom writing well is a hopeless struggle, like trying to carve marble with a butter knife. But I don’t believe that, and neither should you.” 

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Books on writing poetry 

32. madness, rack, and honey by mary ruefle.

With a long history of crafting and lecturing about poetry, Ruefle invites the reader of Madness, Rack, and Honey to immerse themselves into its beauty and magic. In a powerful combination of lectures and musings, she expertly explores the mind and craft of writers while excavating the magical potential of poetry. Often a struggle between giving and taking, poetry is, according to Ruefle, a unique art form that reveals the innermost workings of the human heart.

From the book: “In one sense, reading is a great waste of time. In another sense, it is a great extension of time, a way for one person to live a thousand and one lives in a single lifespan, to watch the great impersonal universe at work again and again”

33. Threads by Sandeep Parmar, Nisha Ramayya, and Bhanu Kapil

If you’re looking for something that explores the philosophical aspects of writing, Threads asks big questions about writing and the position of the writer in an industry that has largely excluded marginalized voices. Where does the writer exist in relation to its text and, particularly in the case of poetry, who is the “I”? Examining the common white, British, male lens, this collection of short essays will make it hard for you not to critically consider your own perceptions and how they affect your writing process.

From the book: “It is impossible to consider the lyric without fully interrogating its inherent promise of universality, its coded whiteness.”

34. The Hatred of Poetry by Ben Lerner

Despite its eye-catching title, this short essay is actually a defense of poetry . Lerner begins with his own hatred of the art form, and then moves on to explore this love-hate dichotomy that actually doesn’t seem to be contradictory. Rather, such a multitude of emotions might be one of the reasons that writers and readers alike turn to it. With its ability to evoke feelings and responses through word-play and meter, poetry has often been misconceived as inaccessible and elitist; this is a call to change that perception. 

From the book: “All I ask the haters — and I, too, am one — is that they strive to perfect their contempt, even consider bringing it to bear on poems, where it will be deepened, not dispelled, and where, by creating a place for possibility and present absences (like unheard melodies), it might come to resemble love.”

35. Poemcrazy by Susan G. Wooldridge

If you’ve ever felt that the mysterious workings of poetry are out of your reach and expressly not for you, Wooldridge is here to tell you that anyone who wants to can write poetry . An experienced workshop leader, she will help you find your inner voice and to express it through the written word. Giving you advice on how to think, use your senses, and practice your writing, Wooldrige will have you putting down rhyme schemes before you know it. 

From the book: “Writing a poem is a form of listening, helping me discover what's wrong or frightening in my world as well as what delights me.”

36. Writing Better Lyrics by Pat Pattison

From the book: “Don't be afraid to write crap — it makes the best fertilizer. The more of it you write, the better your chances are of growing something wonderful.”

Books about writing nonfiction

37. on writing well by william zinsser.

Going strong with its 30th-anniversary edition, On Writing Well: The Classic Guide to Writing Nonfiction is an evergreen resource for nonfiction writers which breaks down the fundamental principles of written communication. As a bonus, the insights and guidelines in this book can certainly be applied to most forms of writing, from interviewing to camp-fire storytelling. Beyond giving tips on how to stay consistent in your writing and voice, how to edit, and how to avoid common pitfalls, Zinsser can also help you grow as a professional writer, strengthening your career and taking steps in a new direction. 

From the book: “Don’t try to visualize the great mass audience. There is no such audience—every reader is a different person.”

38. Essays by Lydia Davis

Ironically enough, this rather lengthy book is a celebration of brevity. As one of the leading American voices in flash-fiction and short-form writing, Davis traces her literary roots and inspirations in essays on everything, ranging from the mastodonic work of Proust to minimalism. In both her translations and her own writing, she celebrates experimental writing that stretches the boundaries of language. Playing with the contrast between what is said and what is not, this collection of essays is another tool to the writing shed to help you feel and use the power of every word you write.

From the book: “Free yourself of your device, for at least certain hours of the day — or at the very least one hour. Learn to be alone, all alone, without people, and without a device that is turned on. Learn to experience the purity of that kind of concentration. Develop focus, learn to focus intently on one thing, uninterrupted, for a long time.”

39. Essayism by Brian Dillon

In this volume, Dillon explores the often overlooked genre of essay writing and its place in literature’s past, present, and future. He argues that essays are an “experiment in attention” but also highlights how and why certain essays have directly impacted the development of the cultural and political landscape, from the end of the Middle Ages until the present day. At its heart, despite its many forms, subject areas, and purposes, essayism has its root in self-exploration. Dip in and out of Dillon’s short texts to find inspiration for your own nonfiction writing.

From the book: “What exactly do I mean, even, by 'style'? Perhaps it is nothing but an urge, an aspiration, a clumsy access of admiration, a crush.”

40. Naked, Drunk, and Writing by Adair Lara

From the book: “Write it down. Whatever it is, write it down. Chip it into marble. Type it into Microsoft Word. Spell it out in seaweeds on the shore. We are each of us an endangered species, delicate as unicorns.”

With a few of these books in your arsenal, you’ll be penning perfect plots in no time! And if you’re interested in learning more about the editing process, check these books on editing out as well!

ZUrlocker says:

11/03/2019 – 19:46

I'm familiar with several of these books. But for new authors, I urge you caution. It is very tempting to read so many books about writing that you never get around to writing. (I did this successfully for many years!) So I will suggest paring it down to just two books: Stephen King on Writing and Blake Snyder Save the Cat. Snyder's book is mostly about screenwriting, so you could also consider Save the Cat Writes a Novel by Jessica Brody. Best of luck!

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31 Of The Most Beautiful And Profound Passages In Literature You’ll Want To Read Over And Over Again

• https://thoughtcatalog.com/?p=493373

Whenever I’m feeling uninspired I look to a collection of my favorite literary quotes I keep in a document on my computer. Today was one of those days. As I was re-reading some of these and remembering why I love writing, reading, and the power of words and a good story, I thought perhaps someone somewhere out there might be feeling the same as me this morning. Here are 31 of the most beautiful passages in literature .

“Atticus said to Jem one day, “I’d rather you shot at tin cans in the backyard, but I know you’ll go after birds. Shoot all the blue jays you want, if you can hit ‘em, but remember it’s a sin to kill a mockingbird.” That was the only time I ever heard Atticus say it was a sin to do something, and I asked Miss Maudie about it. “Your father’s right,” she said. “Mockingbirds don’t do one thing except make music for us to enjoy. They don’t eat up people’s gardens, don’t nest in corn cribs, they don’t do one thing but sing their hearts out for us. That’s why it’s a sin to kill a mockingbird.” – Harper Lee, To Kill a Mockingbird

“i took a deep breath and listened to the old brag of my heart. i am, i am, i am.” – sylvia plath, the bell jar, “we believe that we can change the things around us in accordance with our desires—we believe it because otherwise we can see no favourable outcome. we do not think of the outcome which generally comes to pass and is also favourable: we do not succeed in changing things in accordance with our desires, but gradually our desires change. the situation that we hoped to change because it was intolerable becomes unimportant to us. we have failed to surmount the obstacle, as we were absolutely determined to do, but life has taken us round it, led us beyond it, and then if we turn round to gaze into the distance of the past, we can barely see it, so imperceptible has it become.” – marcel proust, in search of lost time, “the most beautiful things in the world cannot be seen or touched, they are felt with the heart.” – antoine de saint-exupéry, the little prince, “hello babies. welcome to earth. it’s hot in the summer and cold in the winter. it’s round and wet and crowded. on the outside, babies, you’ve got a hundred years here. there’s only one rule that i know of, babies-“god damn it, you’ve got to be kind.” – kurt vonnegut, god bless you, mr. rosewater, “why, sometimes i’ve believed as many as six impossible things before breakfast.” – lewis carroll, alice in wonderland, “we are all in the gutter, but some of us are looking at the stars.” – oscar wilde, lady windermere’s fan, “i must not fear. fear is the mind-killer. fear is the little-death that brings total obliteration. i will face my fear. i will permit it to pass over me and through me. and when it has gone past i will turn the inner eye to see its path. where the fear has gone there will be nothing. only i will remain.” – frank herbert, dune, “nolite te bastardes carborundorum.” (don’t let the bastards grind you down) – margaret atwood, the handmaid’s tale, “just remember that the things you put into your head are there forever, he said. you might want to think about that. you forget some things, dont you yes. you forget what you want to remember and you remember what you want to forget.” – cormac mccarthy,  the road, “you can tell yourself that you would be willing to lose everything you have in order to get something you want. but it’s a catch-22: all of those things you’re willing to lose are what make you recognizable. lose them, and you’ve lost yourself.” – jodi picoult, handle with care, “the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars.” – jack kerouac, on the road, “he allowed himself to be swayed by his conviction that human beings are not born once and for all on the day their mothers give birth to them, but that life obliges them over and over again to give birth to themselves.” ― gabriel garcí­a márquez, love in the time of cholera, “there is an idea of a patrick bateman, some kind of abstraction, but there is no real me, only an entity, something illusory, and though i can hide my cold gaze and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable: i simply am not there.” – bret easton ellis, american psycho, “sometimes fate is like a small sandstorm that keeps changing directions. you change direction but the sandstorm chases you. you turn again, but the storm adjusts. over and over you play this out, like some ominous dance with death just before dawn. why because this storm isn’t something that blew in from far away, something that has nothing to do with you. this storm is you. something inside of you. so all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn’t get in, and walk through it, step by step. there’s no sun there, no moon, no direction, no sense of time. just fine white sand swirling up into the sky like pulverized bones. that’s the kind of sandstorm you need to imagine., and you really will have to make it through that violent, metaphysical, symbolic storm. no matter how metaphysical or symbolic it might be, make no mistake about it: it will cut through flesh like a thousand razor blades. people will bleed there, and you will bleed too. hot, red blood. you’ll catch that blood in your hands, your own blood and the blood of others., and once the storm is over you won’t remember how you made it through, how you managed to survive. you won’t even be sure, in fact, whether the storm is really over. but one thing is certain. when you come out of the storm you won’t be the same person who walked in. that’s what this storm’s all about.” – haruki murakami, kafka on the shore, “a heart is not judged by how much you love; but by how much you are loved by others” – l. frank baum, the wonderful wizard of oz, “sometimes i can hear my bones straining under the weight of all the lives i’m not living.”- jonathan safran foer, extremely loud and incredibly close, “the most important things are the hardest to say. they are the things you get ashamed of, because words diminish them — words shrink things that seemed limitless when they were in your head to no more than living size when they’re brought out. but it’s more than that, isn’t it the most important things lie too close to wherever your secret heart is buried, like landmarks to a treasure your enemies would love to steal away. and you may make revelations that cost you dearly only to have people look at you in a funny way, not understanding what you’ve said at all, or why you thought it was so important that you almost cried while you were saying it. that’s the worst, i think. when the secret stays locked within not for want of a teller but for want of an understanding ear.” stephen king, different seasons, “i don’t have any problem understanding why people flunk out of college or quit their jobs or cheat on each other or break the law or spray-paint walls. a little bit outside of things is where some people feel each other. we do it to replace the frame of family. we do it to erase and remake our origins in their own images. to say, i too was here.” – lidia yuknavitch, the chronology of water, “i never believed in santa claus. none of us kids did. mom and dad refused to let us. they couldn’t afford expensive presents and they didn’t want us to think we weren’t as good as other kids who, on christmas morning, found all sorts of fancy toys under the tree that were supposedly left by santa claus. dad had lost his job at the gypsum, and when christmas came that year, we had no money at all. on christmas eve, dad took each one of us kids out into the desert night one by one., “pick out your favorite star”, dad said., “i like that one” i said., dad grinned, “that’s venus”, he said. he explained to me that planets glowed because reflected light was constant and stars twinkled because their light pulsed., “i like it anyway” i said., “what the hell,” dad said. “it’s christmas. you can have a planet if you want.” and he gave me venus., venus didn’t have any moons or satellites or even a magnetic field, but it did have an atmosphere sort of similar to earth’s, except it was super hot-about 500 degrees or more. “so,” dad said, “when the sun starts to burn out and earth turns cold, everyone might want to move to venus to get warm. and they’ll have to get permission from your descendants first., we laughed about all the kids who believed in the santa myth and got nothing for christmas but a bunch of cheap plastic toys. “years from now, when all the junk they got is broken and long forgotten,” dad said, “you’ll still have your stars.” – jeannette walls, the glass castle, “lolita, light of my life, fire of my loins. my sin, my soul. lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. lo. lee. ta. she was lo, plain lo, in the morning, standing four feet ten in one sock. she was lola in slacks. she was dolly at school. she was dolores on the dotted line. but in my arms she was always lolita. did she have a precursor she did, indeed she did. in point of fact, there might have been no lolita at all had i not loved, one summer, an initial girl-child. in a princedom by the sea. oh when about as many years before lolita was born as my age was that summer. you can always count on a murderer for a fancy prose style. ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple, noble-winged seraphs, envied. look at this tangle of thorns.” vladimir nabokov, lolita, “you think because he doesn’t love you that you are worthless. you think that because he doesn’t want you anymore that he is right — that his judgement and opinion of you are correct. if he throws you out, then you are garbage. you think he belongs to you because you want to belong to him. don’t. it’s a bad word, ‘belong.’ especially when you put it with somebody you love. love shouldn’t be like that. did you ever see the way the clouds love a mountain they circle all around it; sometimes you can’t even see the mountain for the clouds. but you know what you go up top and what do you see his head. the clouds never cover the head. his head pokes through, beacuse the clouds let him; they don’t wrap him up. they let him keep his head up high, free, with nothing to hide him or bind him. you can’t own a human being. you can’t lose what you don’t own. suppose you did own him. could you really love somebody who was absolutely nobody without you you really want somebody like that somebody who falls apart when you walk out the door you don’t, do you and neither does he. you’re turning over your whole life to him. your whole life, girl. and if it means so little to you that you can just give it away, hand it to him, then why should it mean any more to him he can’t value you more than you value yourself.” – toni morrison, song of solomon, “…i think we are well-advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. otherwise they turn up unannounced and surprise us, come hammering on the mind’s door at 4 a.m. of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends. we forget all too soon the things we thought we could never forget. we forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were.” ― joan didion, slouching towards bethlehem, “i don’t let anyone touch me,” i finally said. why not” why not because i was tired of men. hanging in doorways, standing too close, their smell of beer or fifteen-year-old whiskey. men who didn’t come to the emergency room with you, men who left on christmas eve. men who slammed the security gates, who made you love them then changed their minds. forests of boys, their ragged shrubs full of eyes following you, grabbing your breasts, waving their money, eyes already knocking you down, taking what they felt was theirs. (…) it was a play and i knew how it ended, i didn’t want to audition for any of the roles. it was no game, no casual thrill. it was three-bullet russian roulette.” – janet fitch, white oleander, “i wanted so badly to lie down next to her on the couch, to wrap my arms around her and sleep. not fuck, like in those movies. not even have sex. just sleep together in the most innocent sense of the phrase. but i lacked the courage and she had a boyfriend and i was gawky and she was gorgeous and i was hopelessly boring and she was endlessly fascinating. so i walked back to my room and collapsed on the bottom bunk, thinking that if people were rain, i was drizzle and she was hurricane.” ― john green, looking for alaska, “but i tried, didn’t i goddamnit, at least i did that.” – ken kesey, one flew over the cuckoo’s nest, “if you’re going to try, go all the way. otherwise, don’t even start. this could mean losing girlfriends, wives, relatives and maybe even your mind. it could mean not eating for three or four days. it could mean freezing on a park bench. it could mean jail. it could mean derision. it could mean mockery–isolation. isolation is the gift. all the others are a test of your endurance, of how much you really want to do it. and, you’ll do it, despite rejection and the worst odds. and it will be better than anything else you can imagine. if you’re going to try, go all the way. there is no other feeling like that. you will be alone with the gods, and the nights will flame with fire. you will ride life straight to perfect laughter. it’s the only good fight there is.” ― charles bukowski, factotum, “i will be very careful the next time i fall in love, she told herself. also, she had made a promise to herself that she intended on keeping. she was never going to go out with another writer: no matter how charming, sensitive, inventive or fun they could be. they weren’t worth it in the long run. they were emotionally too expensive and the upkeep was complicated. they were like having a vacuum cleaner around the house that broke all the time and only einstein could fix it. she wanted her next lover to be a broom.” ― richard brautigan, sombrero fallout, “usually we walk around constantly believing ourselves. “i’m okay” we say. “i’m alright”. but sometimes the truth arrives on you and you can’t get it off. that’s when you realize that sometimes it isn’t even an answer–it’s a question. even now, i wonder how much of my life is convinced.” ― markus zusak, the book thief, “i love you without knowing how, or when, or from where. i love you simply, without problems or pride: i love you in this way because i do not know any other way of loving but this, in which there is no i or you, so intimate that your hand upon my chest is my hand, so intimate that when i fall asleep your eyes close.” ― pablo neruda, 100 love sonnets, “it doesn’t interest me what you do for a living. i want to know what you ache for, and if you dare to dream of meeting your heart’s longing., it doesn’t interest me how old you are. i want to know if you will risk looking like a fool for love, for your dream, for the adventure of being alive., it doesn’t interest me what planets are squaring your moon. i want to know if you have touched the center of your own sorrow, if you have been opened by life’s betrayals or have become shriveled and closed from fear of further paini want to know if you can sit with pain, mine or your own, without moving to hide it or fade it, or fix it., i want to know if you can be with joy, mine or your own, if you can dance with wildness and let the ecstasy fill you to the tips of your fingers and toes without cautioning us to be careful, to be realistic, to remember the limitations of being human., it doesn’t interest me if the story you are telling me is true. i want to know if you can disappoint another to be true to yourself; if you can bear the accusation of betrayal and not betray your own soul; if you can be faithless and therefore trustworthy., i want to know if you can see beauty even when it’s not pretty, every day,and if you can source your own life from its presence., i want to know if you can live with failure, yours and mine, and still stand on the edge of the lake and shout to the silver of the full moon, “yes”, it doesn’t interest me to know where you live or how much money you have. i want to know if you can get up, after the night of grief and despair, weary and bruised to the bone, and do what needs to be done to feed the children., it doesn’t interest me who you know or how you came to be here. i want to know if you will stand in the center of the fire with me and not shrink back., it doesn’t interest me where or what or with whom you have studied. i want to know what sustains you, from the inside, when all else falls away., i want to know if you can be alone with yourself and if you truly like the company you keep in the empty moments.”, ― oriah mountain dreamer, the invitation, koty neelis.

Former senior staff writer and producer at Thought Catalog.

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