critical reading response essay

How to Write a Critical Response Essay With Examples and Tips

16 January 2024

last updated

A critical response essay is an important type of academic essay, which instructors employ to gauge the students’ ability to read critically and express their opinions. Firstly, this guide begins with a detailed definition of a critical essay and an extensive walkthrough of source analysis. Next, the manual on how to write a critical response essay breaks down the writing process into the pre-writing, writing, and post-writing stages and discusses each stage in extensive detail. Finally, the manual provides practical examples of an outline and a critical response essay, which implement the writing strategies and guidelines of critical response writing. After the examples, there is a brief overview of documentation styles. Hence, students need to learn how to write a perfect critical response essay to follow its criteria.

Definition of a Critical Response Essay

A critical response essay presents a reader’s reaction to the content of an article or any other piece of writing and the author’s strategy for achieving his or her intended purpose. Basically, a critical response to a piece of text demands an analysis, interpretation, and synthesis of a reading. Moreover, these operations allow readers to develop a position concerning the extent to which an author of a text creates a desired effect on the audience that an author establishes implicitly or explicitly at the beginning of a text. Mostly, students assume that a critical response revolves around the identification of flaws, but this aspect only represents one dimension of a critical response. In turn, a critical response essay should identify both the strengths and weaknesses of a text and present them without exaggeration of their significance in a text.

Source Analysis

1. Questions That Guide Source Analysis

Writers engage in textual analysis through critical reading. Hence, students undertake critical reading to answer three primary questions:

• What does the author say or show unequivocally?
• What does the author not say or show outright but implies intentionally or unintentionally in the text?
• What do I think about responses to the previous two questions?

Readers should strive to comprehensively answer these questions with the context and scope of a critical response essay. Basically, the need for objectivity is necessary to ensure that the student’s analysis does not contain any biases through unwarranted or incorrect comparisons. Nonetheless, the author’s pre-existing knowledge concerning the topic of a critical response essay is crucial in facilitating the process of critical reading. In turn, the generation of answers to three guiding questions occurs concurrently throughout the close reading of an assigned text or other essay topics .

2. Techniques of Critical Reading

Previewing, reading, and summarizing are the main methods of critical reading. Basically, previewing a text allows readers to develop some familiarity with the content of a critical response essay, which they gain through exposure to content cues, publication facts, important statements, and authors’ backgrounds. In this case, readers may take notes of questions that emerge in their minds and possible biases related to prior knowledge. Then, reading has two distinct stages: first reading and rereading and annotating. Also, students read an assigned text at an appropriate speed for the first time with minimal notetaking. After that, learners reread a text to identify core and supporting ideas, key terms, and connections or implied links between ideas while making detailed notes. Lastly, writers summarize their readings into the main points by using their own words to extract the meaning and deconstruct critical response essays into meaningful parts.

3. Creating a Critical Response

Up to this point, source analysis is a blanket term that represents the entire process of developing a critical response. Mainly, the creation of a critical response essay involves analysis, interpretation, and synthesis, which occur as distinct activities. In this case, students analyze their readings by breaking down texts into elements with distilled meanings and obvious links to a thesis statement . During analysis, writers may develop minor guiding questions under first and second guiding questions, which are discipline-specific. Then, learners focus on interpretations of elements to determine their significance to an assigned text as a whole, possible meanings, and assumptions under which they may exist. Finally, authors of critical response essays create connections through the lens of relevant pre-existing knowledge, which represents a version of the element’s interconnection that they perceive to be an accurate depiction of a text.

Writing Steps of a Critical Response Essay

Step 1: pre-writing, a. analysis of writing situation.

Purpose. Before a student begins writing a critical response essay, he or she must identify the main reason for communication to the audience by using a formal essay format. Basically, the primary purposes of writing a critical response essay are explanation and persuasion. In this case, it is not uncommon for two purposes to overlap while writing a critical response essay. However, one of the purposes is usually dominant, which implies that it plays a dominant role in the wording, evidence selection, and perspective on a topic. In turn, students should establish their purposes in the early stages of the writing process because the purpose has a significant effect on the essay writing approach.

Audience. Students should establish a good understanding of the audience’s expectations, characteristics, attitudes, and knowledge in anticipation of the writing process. Basically, learning the audience’s expectations enables authors to meet the organizational demands, ‘burden of proof,’ and styling requirements. In college writing, it is the norm for all essays to attain academic writing standards. Then, the interaction between characteristics and attitudes forces authors to identify a suitable voice, which is appreciative of the beliefs and values of the audience. Lastly, writers must consider the level of knowledge of the audience while writing a critical response essay because it has a direct impact on the context, clarity, and readability of a paper. Consequently, a critical response essay for classmates is quite different from a paper that an author presents to a multi-disciplinary audience.

Define a topic. Topic selection is a critical aspect of the prewriting stage. Ideally, assignment instructions play a crucial role in topic selection, especially in higher education institutions. For example, when writing a critical response essay, instructors may choose to provide students with a specific article or general instructions to guide learners in the selection of relevant reading sources. Also, students may not have opportunities for independent topic selection in former circumstances. However, by considering the latter assignment conditions, learners may need to identify a narrow topic to use in article selection. Moreover, students should take adequate time to do preliminary research, which gives them a ‘feel’ of the topic, for example, 19th-century literature. Next, writers narrow down the scope of the topic based on their knowledge and interests, for example, short stories by black female writers from the 19 th century.

B. Research and Documentation

Find sources. Once a student has a topic, he or she can start the process of identifying an appropriate article. Basically, choosing a good source for writing a critical response essay occurs is much easier when aided with search tools on the web or university repository. In this case, learners select keywords or other unique qualities of an article and develop a search filter. Moreover, authors review abstracts or forewords of credible sources to determine their suitability based on their content. Besides content, other factors constrain the article selection process: the word count for a critical response essay and a turnaround time. In turn, if an assignment has a fixed length of 500 words and a turnaround time of one week, it is not practical to select a 200-page source despite content suitability.

Content selection. The process of selecting appropriate content from academic sources relies heavily on the purpose of a critical response essay. Basically, students must select evidence that they will include in a paper to support their claims in each paragraph. However, writers tend to let a source speak through the use of extensive quotations or summaries, which dilutes a synthesis aspect of a critical response essay. Instead, learners should take a significant portion of time to identify evidence from reliable sources , which are relevant to the purpose of an essay. Also, a student who is writing a critical analysis essay to disagree with one or more arguments will select different pieces of evidence as compared to a person who is writing to analyze the overall effectiveness of the work.

Annotated bibliography. An annotated bibliography is vital to the development of a critical response essay because it enables authors to document useful information that they encounter during research. During research and documentation stages for a critical response essay, annotated bibliographies contain the main sources for a critical analysis essay and other sources that contribute to the knowledge base of an author, even though these sources will not appear in reference lists. Mostly, a critical response essay has only one source. However, an annotated bibliography contains summaries of other sources, which may inform the author’s critical response through the development of a deep understanding of a topic. In turn, an annotated bibliography is quite useful when an individual is writing a critical response to an article on an unfamiliar topic.

Step 2: Writing a Critical Response Essay

A. organization..

Thesis . A thesis statement sentence is a crucial component of a critical response essay because it presents the student’s purpose, argument, and the conclusion that he or she draws from the textual evidence. Also, the thesis statement is the response to the thesis question, which an author creates from assignment instructions. After completing the research stage, students can develop a tentative thesis statement to act as a starting point for the writing stage. Usually, tentative thesis statements undergo numerous revisions during the writing stage, which is a consequence of the refinement of the main idea during the drafting.

Weigh the evidence. Based on the tentative thesis, an author evaluates the relative importance of collected pieces of textual evidence to the central idea. Basically, students should distinguish between general and specific ideas to ascertain that there exists a logical sequence of presentation, which the audience can readily grasp. Firstly, for writing a critical response essay, learners should identify general ideas and establish specific connections that exist between each general idea and specific details, which support a central claim. Secondly, writers should consider some implications of ideas as they conduct a sorting process and remove evidence that does not fit. Moreover, students fill ‘holes’ that are present due to the lack of adequate supporting evidence to conclude this stage.

Create an outline. An essay outline is a final product of weighing the significance of the evidence in the context of the working thesis statement. In particular, a formal outline is a preferred form of essay structure for a critical response essay because it allows for detailed documentation of ideas while maintaining a clear map of connections. During the formation of an outline, students use a systematic scheme of indentation and labeling all the parts of an outline structure. In turn, this arrangement ensures that elements that play the same role are readily discernible at a glance, for example, primary essay divisions, secondary divisions, principle supporting points, and specific details.

Drafting. The drafting step involves the conversion of the one-sentence ideas in an outline format into complete paragraphs and, eventually, a critical response essay. In this case, there is no fixed approach to writing the first draft. Moreover, students should follow a technique that they find effective in overcoming the challenge of starting to write a critical response essay. Nonetheless, it is good practice to start writing paragraphs that authors believe are more straightforward to include regardless of specific positions that they hold on an outline. In turn, learners should strive to write freely and be open to new ideas despite the use of an outline. During drafting, the conveyance of meaning is much more important than the correctness of the draft.

Step 3: Post-Writing

Individual revision. An individual revision process focuses on the rethinking and rewriting of a critical response essay to improve the meaning and structure of a paper. Essentially, students try to review their papers from a perspective of readers to ensure that the level of detail, relationship and arrangement of paragraphs, and the contribution of the minor ideas to the thesis statement attain the desired effect. In this case, the use of a checklist improves the effectiveness of individual revision. Moreover, a checklist contains 12 main evaluation categories: assignment, purpose, audience and voice, genre, thesis, organization, development, unity, coherence, title, introduction, and conclusion.

Collaborative revision. Collaborative revision is a revision strategy that covers subconscious oversight that occurs during individual revision. During an individual revision of a critical response essay, authors rely on self-criticism, which is rarely 100% effective because writers hold a bias that their works are of high quality. Therefore, subjecting an individual’s work to peer review allows students to collect critique from an actual reader who may notice problems that an author may easily overlook. In turn, learners may provide peer reviewers with a checklist to simplify the revision process.

Editing . The editing step requires authors to examine the style, clarity, and correctness of a critical response essay. In particular, students review their papers to ascertain their conformance with the guidelines of formal essay writing and the English language. Moreover, sentence fragments, subject-verb agreement, dangling modifiers, incorrect use of punctuation, vague pronoun references, and parallelism are common grammar issues that learners eliminate during editing. Then, writers confirm that their critical response essays adhere to referencing style guidelines for citation and formatting, such as the inclusion of a title page, appropriate in-text citation, and proper styling of bibliographic information in the reference list. In turn, students must proofread a critical response essay repeatedly until they find all errors because such mistakes may divert the audience’s attention from the content of a paper.

Sample Outline Template for a Critical Response Essay

I. Introduction

A. Summary of an article. B. Thesis statement.

A. First body paragraph

• The idea for the first paragraph.
• Evidence for the first point from an article.
• Interpretation of the evidence.

B. Second body paragraph

• The idea for the second paragraph.
• Evidence for the second point from an article.

C. Third body paragraph

• The idea for the third paragraph.
• Evidence for the third point from an article.

III. Conclusion

A. Summary of three points that form a body section. B. Closing remarks.

Uniqueness of a Critical Response Essay Outline

The presence of a summary in the introduction and an interpretation for each piece of evidence are defining features of a critical response essay. Typically, the introduction, being one of 5 parts of an essay , does not contain a succinct summary of a source that an author uses in body paragraphs. In this case, the incorporation of a summary in the introduction paragraph provides the audience with specific information concerning the target article of a critical response. Specifically, a critical response essay differs from other response papers because it emphasizes the provision of reasonable judgments of a text rather than the testing and defense of one’s judgments. In turn, authors of a critical response essay do not provide evaluation for their judgments, which implies that critical responses may be different but correct if a specific interpretation is reasonable to the audience.

Expanding an Outline Format Into a Critical Response Essay

1. introduction.

The introductory paragraph in a critical response essay consists of two primary sections: a summary of an article and a thesis statement. Firstly, a summary of an article consists of the text’s central argument and the purpose of the presentation of the argument. Basically, students should strive to distill the main idea and purpose of the text into a few sentences because the length of the introduction is approximately 10% of the essay’s word count. Then, a summary provides the audience with adequate background information concerning an article, which forms a foundation for announcing the student’s primary idea. In this case, writers may include an additional sentence between a summary and a thesis statement to establish a smooth flow in the opening paragraph. However, learners should not quote thesis and purpose statements because it results in a fragmented introduction, which is unappealing to readers and ineffective.

• All body paragraphs have in a critical response essay four main elements: the writer’s idea, meaningful evidence from a reading text, interpretation of the evidence, and a concluding statement.

A. Writer’s Idea

The writer’s idea for a paragraph appears in the first sentence of a paragraph, which is a topic sentence. For example, if students know how to write a topic sentence , they present readers with a complete and distinct idea that proves or supports a thesis statement. In this case, authors should carefully word their topic sentences to ensure that there is no unnecessary generalization or spillovers of ideas from other paragraphs. Notably, all the topic sentences in the body of a critical response essay share a logical relationship that allows the audience to easily follow the development of the central idea of a paper.

B. Evidence

Students should provide evidence that supports the idea that they propose in the topic sentence. Basically, the evidence for all body paragraphs is the product of critical reading of an article, which allows writers to identify meaningful portions of a text. During the presentation of evidence, learners should ascertain that the contextual meaning of paraphrases or quotations is not lost because such a strategy will harm interpretations that follow after it. In turn, critical response essays must not contain lengthy or numerous quotations unless the meaning or intended effect of a quotation is not replicable upon paraphrasing.

C. Interpretation.

Interpretation segments of paragraphs allow authors to explain the significance of the evidence to the topic sentence. In a critical response essay, the interpretation is the equivalent of an author revealing the possible assumptions behind a text paraphrase and commenting on whether or not he or she finds them reasonable. Moreover, students make inferences concerning their meaning in the context of the entire narrative and its relation to the paragraph’s idea. In turn, learners should refrain from reading too much into a piece of evidence because it may result in false or unreasonable inferences.

D. Concluding Sentence

The concluding statement is the final sentence of any paragraph. In this case, the primary role of the concluding sentence is to emphasize the link between the topic sentence, evidence, interpretation, and the essay’s central idea. Also, the concluding statement should not contain an in-text citation because it does not introduce new evidence to support the topic sentence. Therefore, authors use concluding sentences to maintain the unity between body paragraphs and a critical response essay in its entirety.

3. Conclusion

The conclusion comprises of three core elements: a restatement of a thesis statement, a summary of the main points that authors present in body paragraphs, and closing remarks. In particular, the first statement of the conclusion draws the attention of the audience to the central idea, which an author proposes in a thesis statement. Then, students review the main points of a critical response essay to demonstrate that written arguments in body paragraphs adequately support a thesis statement. Moreover, writers should summarize the main points of a paper in the same order that they appear in the main part to guarantee that logical pattern in the body is readily discernible in summary. Finally, learners make their closing remarks, which creates a sense of wholesomeness in a critical response essay or ties a paper to a larger relevant discourse.

Example of Writing a Critical Response Essay

Topic: American Capitalism: The New Face of Slavery

I. Sample Introduction of a Critical Response Essay

Capitalism is a dominant characteristic of the American economy. In this case, Matthew Desmond’s article “In Order to Understand the Brutality of American Capitalism, You Have to Start on the Plantation” discusses the role of slavery in shaping contemporary business practices. Specifically, the author attempts to convince the audience that the brutality of American capitalism originates from slavery. In turn, Desmond lays a strong but simple foundation for his argument, which ensures that the audience can conceptualize the link between plantation slavery and contemporary American capitalistic practices.

II. Example of a Body in a Critical Response Essay

A. example of the first body paragraph: american capitalism.

Early in the article, Desmond informs readers of the high variability in the manifestation of capitalism in societies, which creates the impression that American capitalism is a choice. For example, Desmond (2019) argues that the brutality of American capitalism is simply one of the possible outcomes of a society built on capitalistic principles because other societies implement the same principles in a manner that is liberating, protective, and democratic. Moreover, Desmond begins his argument by eliminating a popular presumption that exploitation and oppression are unavoidable outcomes of capitalism. In turn, this strategic move to establish this fact is in the introductory section of the article because it invites the audience to rethink the meaning of capitalism. Furthermore, its plants doubt regarding the ‘true’ meaning of capitalism outside the context of American society.

B. Example of the Second Body Paragraph: American Capitalism: Slavery and American’s Economic Growth

After establishing that the perception of capitalism through the lens of American society has some bias, Desmond proceeds to provide detailed evidence to explain the attempt to camouflage the obvious link between slavery and America’s economic growth. For instance, Desmond (2019) notes the role of Alfred Chandler’s book, The Visible Hand, and Caitlin Rosenthal’s book, Accounting for Slavery, in breaking the link between management practices in plantations and modern corporations by suggesting that the current business practices are a consequence of the 19th-century railroad industry. In this case, Desmond uses this evidence to make a logical appeal to the audience, which makes his argument more convincing because he explains the reason behind the exclusion of slavery in the discourse on modern industry. As a result, Desmond dismisses one of the main counterarguments against his central argument, which increases his persuasive power.

C. Example of the Third Body Paragraph: Input vs. Output Dynamic

Desmond emphasizes the link between slavery and American capitalism to readers by using the simple input vs. output dynamic throughout the article. For example, Desmond (2019) compares the Plantation Record and Account Book to the heavy digital surveillance techniques in modern workplaces because they collect data, which the employers use to maximize productivity while minimizing inputs. In particular, the comparison reveals that employers did not stop the practice of reducing laborers into units of production with fixed productivity thresholds. Moreover, the constant repetition of the theme of low input and high output dominates the body paragraphs, which makes it nearly impossible for readers to lose sight of the link between slavery and business practices under American capitalism. In turn, the simplification of the underlying logic in Desmond’s argument ensures its clarity to the audience.

III. Sample Conclusion of a Critical Response Essay

Desmond carefully plans the presentation of his argument to the audience, which allows readers to follow the ideas easily. In particular, the author starts with a call for readers to set aside any presumptions concerning capitalism and its origin. Then, Desmond provides the audience with an alternative narrative with support from seminal texts in slavery and economics. On the whole, Desmond manages to convince the audience that the American capitalistic society is merely a replica rather than an aberration of slavery.

Citing Sources in a Critical Response Essay

A critical response essay contains specific thoughts of the article’s author and direct words of the text’s author. In this case, students must conduct proper documentation to ensure that readers of critical response essays can distinguish between these two types of ‘voices.’ Moreover, documentation prevents incidents of plagiarism. Usually, instructors mention a referencing technique that students should use in writing a critical response essay. However, if assignment instructions do not identify a specific documentation style, writers should use a referencing technique that is acceptable for scholarly writing in their disciplines.

In-text citation:

• Parenthetical: (Desmond, 2019).
• Narrative: Desmond (2019).
• Desmond, M. (2019, August 12). In order to understand the brutality of American capitalism, you have to start on the plantation . New York Times. https://www.nytimes.com/interactive/2019/08/14/magazine/slavery-capitalism.html
• Parenthetical: (Desmond par. 1).
• Narrative: Desmond argues . . . (par. 1).

Works Cited:

• Desmond, Matthew. “In Order to Understand the Brutality of American Capitalism, You Have to Start on the Plantation.” New York Times , 14 Aug. 2019, www.nytimes.com/interactive/2019/08/14/magazine/slavery-capitalism.html.

3. Harvard Referencing

• Parenthetical: (Desmond 2019).

Reference List:

• Desmond, M 2019, In order to understand the brutality of American capitalism, you have to start on the plantation . Available from: <https://www.nytimes.com/interactive/2019/08/14/magazine/slavery-capitalism.html>. [27 August 2020].

4. Chicago/Turabian

In-text citation (footnote):

• 1. Matthew Desmond, “In Order to Understand the Brutality of American Capitalism, You Have to Start on the Plantation,” New York Times, August 14, 2019, https://www.nytimes.com/interactive/2019/08/14/magazine/slavery-capitalism.html.

Bibliography:

• Desmond, Matthew. “In Order to Understand the Brutality of American Capitalism, You Have to Start on the Plantation.” New York Times. August 14, 2019. https://www.nytimes.com/interactive/2019/08/14/magazine/slavery-capitalism.html.

Final Provisions on a Critical Response Essay

• Critical reading is a precursor for writing an effective critical response essay.
• Students must conduct adequate research on a topic to develop a proper understanding of a theme, even if only one article appears on the reference list.
• Notetaking or annotation is a good practice that aids students in extracting meaning from an article.
• Writers should plan for all activities in the writing process to ascertain that they have adequate time to move through all the stages.
• An outline is an organizational tool, which learners must use to establish the sequence of ideas in a critical response essay.
• The purpose of a critical response essay has a significant impact on the selection of evidence and the arrangement of body paragraphs.
• Students should prioritize revision and editing, which represent opportunities to refine the content of an essay and remove mechanical issues.
• Collaborative and individual revision are equally important because they play different roles in the writing of a critical response essay.
• Evidence selection is dependent on the purpose and thesis statement of a critical response essay.

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How to Write a Critical Response Essay: Step-by-Step Guide

Graduating without sharpening your critical thinking skills can be detrimental to your future career goals. To spare you the trouble, college teachers assign critical response tasks to prepare learners for making rational decisions.

Critical response papers also help professors assess the knowledge of each student on a relevant topic. They expect learners to conduct an in-depth analysis of each source and present their opinions based on the information they managed to retrieve.

This article aims to help students who have no idea how to write critical response essays. It offers insight into academic structuring, formatting, and editing rules. Here is our step-by-step recipe for writing a critical response essay.

What Is a Critical Response Essay?

The critical response essay displays the writer’s reaction to a written work. By elaborating on the content of a book, article, or play, you should discuss the author’s style and strategy for achieving the intended purpose. Ideally, the paper requires you to conduct a rhetorical analysis, interpret the text, and synthesize findings.

Instead of sharing somebody else’s solution on the subject matter, here you present your argumentation. Unlike a descriptive essay, this paper should demonstrate your strong expository skills. Often, a custom writing service can prove helpful if you find your evaluation essay time-consuming. Offering a value judgment about a specific topic takes time to acquire.

Another thing you should consider is not just focusing on the flaws. Though this is not a comparison and contrast essay, you must also reveal the strengths and present them without exaggeration. What matters is to develop your perspective on the work and how it affects the readership through implicit and explicit writing means.

Besides assessing your ability to develop coherent argumentation, professors will also grade your paper composition skills. They want to ensure you can critically reflect on various literature pieces. Hence, it’s essential to learn to analyze your topic thoroughly. This way, you gain a deep understanding and can organize a meaningful text.

Critical Response Essay & Other Essay Types

Standard essays contain three main segments: introduction, main body, and conclusion. But any other aspect beyond this vague outline differs depending on the assigned type. And while your critical response resembles an opinion essay since it expresses your viewpoint, you must distinguish it from other kinds.

For example, let’s consider a classification essay or a process essay. The first only lists the features of a particular object or several concepts to group them into categories. The second explains how something happens in chronological order and lists the phases of a concrete process. Hence, these variants are purely objective and lack personal reflection.

A narrative essay is more descriptive, with a focal point to tell a story. Furthermore, there’s the definition essay, an expository writing that provides information about a specific term. The writer, while showcasing their personal interpretation, must avoid criticism of the matter. Professional personal statement writers can provide assistance in creating the best essay that reflects the writer’s individual opinion.

Finally, though you can find some resemblances with an argumentative paper, critical responses comprise two parts. First, you quickly make an analytical summary of the original work and then offer a critique of the author’s writing. When drafting, it’s advisable to refrain from an informal essay format.

What Is the Structure of a Critical Response Essay?

The critical essay will have a typical structure consisting of five paragraphs. It is the most effective and easiest to follow. Here’s a brief demonstration of what you should include in each segment.

Introduction

The introductory paragraph reveals your main argument related to the analysis. You should also briefly summarize the piece to acquaint the reader with the text. The purpose of the introduction is to give context and show how you interpreted the literary work.

These paragraphs discuss the main themes in the book or article. In them, ensure you provide comments on the context, style, and layout. Moreover, include as many quotations from the first-hand text or other sources to support your interpretation.

However, finding memorable quotes and evidence in the original book can be challenging. If you have difficulties drafting a body paragraph, write your essay online with the help of a custom writing platform. These experts will help you show how you reached your conclusions.

This paragraph restates all your earlier points and how they make sense. Hence, try to bind all your comments together in an easily digestible way for your readers. The ultimate purpose is to help the audience understand your logic and unify the essay’s central idea with your interpretations.

Writing Steps of a Critical Response Essay

If you wonder how to write a critical response, remember that it takes time and proper planning. You will have to address multiple data, draft ideas, and rewrite your essay fast and efficiently. Follow the methods below to organize better and get a high grade without putting too much pressure on your shoulders.

1. Pick a Topic

Professors usually choose the topic and help you grasp the focus of the research. Yet, in some cases, you might be able to select a theme you like. When deciding, ensure the book can provide several arguments, concepts, or phenomena to review. You should also consider if there’s enough available data for analysis.

2. Research and Gather Information

This assignment means you cannot base your argumentation on personal beliefs and preferences. Instead, you must be flexible and accept different opinions from acknowledged scholarly sources. Moreover, ensure you have a reliable basis for your comments.

In short, avoid questionable resources and be accurate when referencing. Finding a single article claiming the concept or idea is correct and undisputable isn’t enough. You must read and consult various sources and conduct a meticulous examination.

3. Prepare the Outline

Define your claim or thesis statement and think of a “catch” sentence that will attract the reader’s attention. You must also consider titling an essay and giving background data and facts. At this stage, it’s also recommendable to establish the number of body segments. This step will help you get a more precise writing plan you will later reinforce with examples and evidence.

4. Start Rough Drafting

When writing your first draft, consider dedicating each section to a distinct argument or supporting evidence that proves your point. Cite and give credit as appropriate and ensure your text flows seamlessly and logically. Also, anticipate objections from opponents by including statements grounding your criticism.

5. Revise and Edit

Typically, your rough draft will require polishing. The best approach is to sleep on it to reevaluate its quality in detail. Check the relevance of your thesis statement and argumentation and ensure your work is free of spelling and grammatical mistakes. Also, your sentences should be concise and straight to the point, without irrelevant facts or fillers.

The Dos and Don’ts in Critical Response Essay Writing

Check your work against the following dos and don’ts for a perfect written piece.

• Pick an intriguing title.
• Cite each source, including quotations and theoretical information.
• Connect sentences by using transition words for an essay like “First,” “Second,” “Moreover,” or “Last” for a good flow.
• Start writing in advance because last-minute works suffer from poor argumentation and grammar.
• Each paragraph must contain an analysis of a different aspect.
• Use active verbs and dynamic nouns.
• Ask a friend or classmate to proofread your work and give constructive comments.
• Check the plagiarism level to ensure it’s free of copied content.
• Don’t exceed the specified word limit.
• Follow professional formatting guidelines.
• Your summary must be short and not introduce new information.
• Avoid clichés and overusing idioms.
• Add the cited bibliography at the end.

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7 Writing the Critical Response Essay (CRE)

The Critical Response Essay is a multi-paragraph, multi-page essay that requires you to take one of your Critical Response Paragraphs and revise it to create a more complex and stronger argument. You should choose your best CRP or the one that most interests you. Focus on making it not only a longer argument, but also a better argument, using what you’ve learned since writing the original piece to improve the argument and the writing itself (argument form, paragraph form, and grammar). Also use what you’ve learned from my feedback and from our discussions in class and individual conferences. You must include confutation.

ARGUMENT FORM

CREs require that you use classical argument form. The parts of this kind of argument are as follow:

Key Takeaways

• Introduction Paragraph , ending with claim
• [ Confutation as first argument paragraph ?]
• Argument Paragraphs (two or three): Begin with a subclaim , then support it by providing textual evidence and analysis of evidence [including confutation within?]
• [ Confutation as final argument paragraph ?]
• Conclusion [confutation as conclusion?]
• Works Cited

Your title may not be simply the title of the story or the assignment. It must be a title that is specific to your argument.

INTRODUCTION PARAGRAPH with CLAIM

• Introduce the story and the author about which you are writing. If you’re writing about a film, identify the director.
• Call attention to the features of the story on which you will base your argument. This is the ONLY part of the essay in which you may summarize parts of the story.
• END the introduction with your CLAIM.
• If you have no claim, you have no argument, and therefore you may earn a disappointing grade.
• Likewise, if your claim does not appear in the introduction, your reader has no way of knowing what your subclaims and evidence are attempting to prove.
• It’s not like a joke where you save the punchline until last.
• It’s not mystery-writing, where you don’t identify the murderer until the end.
• It’s an argument. So for your reader to understand what is the point of all the evidence and analysis you’re working so hard to create, you must tell her, in the introduction, what you’re trying to argue and prove.

Writing an Arguable Claim

• Think in terms of theme .
• Theme cannot be expressed with just a word or even a short phrase, like sibling rivalry or fear of marriage. Those are interesting topics, but they are not yet themes.
• To turn a topic into a theme, you must be able to say what the story shows us about the topic , that relates to real life beyond the story.

“Beauty and the Beast” illustrates sibling rivalry.

This is an insufficient claim about theme because it doesn’t give me even a hint of what you think the story says about sibling rivalry. Unless you plan to tell me that in the next sentence, there’s a problem with your claim. By the way, a claim can be more than one sentence.

Jeanne-Marie Leprince de Beaumont’s “Beauty and the Beast” illustrates how sibling rivalry can be caused by unnecessary competition for mates, particularly in the case of sisters.

Now that’s an arguable claim because it includes author, title, a topic, and what the story says about the topic and how it relates to real life.

You can make this claim even stronger (and give yourself greater confidence that your argument will be persuasive) by including the main textual evidence you will cite.

Or you could revise this idea to discuss how cultural expectations play a role in this kind of rivalry and unhealthy competition. See the CRP Example for something like that.

If it helps, you can think of these components as part of a formula.

Let X be the story and some particular feature of it.

Let Y be the theme you are arguing.

Instead of an equal sign, we insert a verb that expresses the relationship between X and Y:

(=) illustrates, shows, portrays, dramatizes, suggests (etc.)

In this example:

Let X be the elder sisters’ resentment toward Beauty.

Let Y be how sibling rivalry can be caused by competition for mates.

Notice in the example below how this process creates an arguable claim.

(X) The elder sisters’ resentment toward Beauty in “Beauty and the Beast”

(Y) how sibling rivalry can be caused by competition for mates.

ARGUMENT PARAGRAPHS

• Support the claim with argument paragraphs.
• How many you need is up to you, but generally at least two, in some cases three or four.
• Begin EVERY argument paragraph with a TOPIC SENTENCE
• The topic sentence is like a mini-claim, the paragraph’s claim
• Tells me what you’ll argue in this paragraph
• And tells or shows how this point supports the main claim.
• Support the topic sentence with textual evidence and analysis
• Quotations and your analysis of them.
• See the Quotation Sandwich document for guidance.
• Vary the verbs you use to incorporate quotations into your sentences. DO NOT use the words “says,” “states,” or “writes” (or any forms of these verbs). See the document titled “Effective Verbs for Introducing Quotations in Canvas for many possible verbs that you may use.
• Use transitional terms—also called “signposts”—to show the relationships from one point to the next and from one paragraph to the next. The internet is full of lists of transitional terms. Here’s one good source: Transition Words.

CONFUTATION

Confutation makes an argument stronger by dealing with opposing points and evidence.

• Confutation includes the following parts:
• Presenting opposition fairly (opposing claims or ideas)

Remember that the opposition must not be a “straw man.” That is, you must engage with something that a careful reader would actually argue, not a simplistic, obviously erroneous reading.

Some readers might argue that the sisters are not abusive toward Beauty.

This example is a straw man statement. No one would seriously argue this point because the sisters actually plot to get Beauty killed, and what could be more abusive than that?

• Refuting the opposition: showing how it is incorrect or at least as correct as your reading.
• Directly after the introduction
• o Directly before the conclusion
• o As part of the conclusion
• o Within paragraphs, to deal with possible alternative interpretations of your textual evidence.

Consider a confutation involving the fairy who appears at the end of “Beauty and the Beast” and what she does to Beauty’s sisters. That is, she punishes the two sisters for their bad behavior. Some readers see this as fair because those mean girls get what’s coming to them. But others see it as a missed opportunity to promote sisterhood among all three of the girls. Here are examples of how to write these points as a complete confutation.

State the opposition, as fairly as possible: When the fairy punishes the two sisters for their bad behavior, some readers see this extreme punishment as fair because those mean girls finally get what is coming to them.

Refute the opposition: But by imposing this punishment, the fairy misses a chance to promote sisterhood among all three of the girls. But if she has such powerful magic, that she can turn young women to stone, shouldn’t she be able to teach them to love each other instead?

This refutation includes a rhetorical question; it is not meant for you to answer, but to leave the reader thinking about your ideas. You are not required to pose your refutation as a question; this is just one way to write your refutation.

What do you do with a conclusion? Do not just restate your claim, even if you change some of the wording. That’s not worth your reader’s time. So what is worth your reader’s time?

• A kind of wrap-up: What’s the point of this argument? What has been learned here and why does it matter? What do you want you and your reader to have learned or created together?
• And why is this important? Does it apply to real life now? How?
• Certainly the spirit of your claim will be here. But not just your claim reworded.
• o Because you’ve just been feeding it and exercising it,
• o So now it’s bigger and more interesting.
• o So you should be able to talk it about it with greater complexity and authority. Don’t go crazy and add new ideas—remember you’re wrapping things up.
• Confutation as Conclusion: You may be able to write a conclusion that includes confutation. Why might this be a useful strategy? Why might it be problematic?

Understanding the difference between claim and conclusion

• the conclusion is similar to the claim
• and yet more detailed and complete in meaning.
• Notice the relationship between the CLAIM and the Conclusion in this example:

The story of “The Frog King, or Iron Henry” illustrates and even promotes the importance of consent in relationships.

In this way, the story highlights the importance of understanding and respecting the value of consent. This tale teaches readers to stand up for themselves and refuse to give in to situations that will clearly cause discomfort or danger.

Keep this guidance and these examples handy as you draft your essay, and remember that I’m happy to answer questions and review drafts within the time constraints announced in class.

Introduction to Literature Copyright © by Judy Young is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Critical Reading

Critical reading is a vital part of the writing process. In fact, reading and writing processes are alike. In both, you make meaning by actively engaging a text. As a reader, you are not a passive participant, but an active constructor of meaning. Exhibiting an inquisitive, "critical" attitude towards what you read will make anything you read richer and more useful to you in your classes and your life. This guide is designed to help you to understand and engage this active reading process more effectively so that you can become a better critical reader.

Reading a Text--Some Definitions

You might think that reading a text means curling up with a good book, or forcing yourself to study a textbook. Actually, reading a text can mean much more. First of all, let's define the two terms of interest here--"reading" and "text."

What Counts as Reading?

Reading is something we do with books and other print materials, certainly, but we also read things like the sky when we want to know what the weather is doing, someone's expression or body language when we want to know what someone is thinking or feeling, or an unpredictable situation so we'll know what the best course of action is. As well as reading to gather information, "reading" can mean such diverse things as interpreting, analyzing, or attempting to make predictions.

What Counts as a Text?

When we think of a text, we may think of words in print, but a text can be anything from a road map to a movie. Some have expanded the meaning of "text" to include anything that can be read, interpreted or analyzed. So a painting can be a text to interpret for some meaning it holds, and a mall can be a text to be analyzed to find out how modern Americans behave in their free time.

How do Readers Read?

Those who study the way readers read have come up with some different theories about how readers make meaning from the texts they read.

Being aware of how readers read is important so that you can become a more critical reader. In fact, you may discover that you are already a critical reader.

The Reading Equation

Prior Knowledge + Predictions = Comprehension

When we read, we don't decipher every word on the page for its individual meaning. We process text in chunks, and we also employ other "tricks" to help us make meaning out of so many individual words in a text we are reading. First, we bring prior knowledge to everything we read, whether we are aware of it or not. Titles of texts, authors' names, and the topic of the piece all trigger prior knowledge in us. The more prior knowledge we have, the better prepared we are to make meaning of the text. With prior knowledge we make predictions, or guesses about how what we are reading relates to our prior experience. We also make predictions about what meaning the text will convey.

Related Information: How can Reaching Comprehension Make Us Better Writers?

When you have successfully comprehended the text you are reading, you should take this comprehension one step further and try to apply it to your writing process. Good writers know that readers have to work to make meaning of texts, so they will try to make the reader's journey through the text as effortless as possible. As a writer you can help readers tap into prior knowledge by clearly outlining your intent in the introduction of your paper and making use of your own personal experience. You can help readers make accurate guesses by employing clear organization and using clear transitions in your paper.

Related Information: Making Predictions

Whether you realize it or not, you are always making guesses about what you will encounter next in a text. Making predictions about where a text is headed is an important part of the comprehension equation. It's alright to make wrong guesses about what a text will do--wrong guesses are just as much a part of the meaning-making process of reading as right guesses are.

Related Information: Tapping into Prior Knowledge

It's important to tap into your prior knowledge of subject before you read about it. Writing an entry in your writer's notebook may be a good way to access this prior knowledge. Discussing the subject with classmates before you read is also a good idea. Tapping into prior knowledge will allow you to approach a piece of writing with more ways to create comprehension than if you start reading "cold."

Cognitive Reading Theory

When you read, you may think you are decoding a message that a writer has encoded into a text. Error in reading comprehension, in this model, would occur if you as a reader were not decoding the message correctly, or if the writer was not encoding the message accurately or clearly. The writer, however, would have the responsibility of getting the message into the text, and the reader would assume a passive role.

Related Information: Reading has a Model

Let's look at a more recent and widely accepted model of reading that is based on cognitive psychology and schema theory. In this model, the reader is an active participant who has an important interpretive function in the reading process. In other words, in the cognitive model you as a reader are more than a passive participant who receives information while an active text makes itself and its meanings known to you. Actually, the act of reading is a push and pull between reader and text. As a reader, you actively make, or construct, meaning; what you bring to the text is at least as important as the text itself.

Related Information: Reading is an active, constuctive, meaning-making process

Readers construct a meaning they can create from a text, so that "what a text means" can differ from reader to reader. Readers construct meaning based not only on the visual cues in the text (the words and format of the page itself) but also based on non-visual information such as all the knowledge readers already have in their heads about the world, their experience with reading as an activity, and, especially, what they know about reading different kinds of writing. This kind of non-visual information that readers bring with them before they even encounter the text is far more potent than the actual words on the page.

Related Information: Reading is hypothesis based

In yet another layer of complexity, readers also create for themselves an idea of what the text is about before they read it. In reading, prediction is much more important than decoding. In fact, if we had to read each letter and word, we couldn't possibly remember the letters and words long enough to put them all together to make sense of a sentence. And reading larger chunks than sentences would be absolutely impossible with our limited short-term memories.

So, instead of looking at each word and figuring out what it "means," readers rely on all their language and discourse knowledge to predict what a text is about. Then we sample the text to confirm, revise, or discard that hypothesis. More highly structured texts with topic sentences and lots of forecasting features are easier to hypothesize about; they're also easier to learn information from. Less structured texts that allow lots of room for predictions (and revised and discarded hypotheses) give more room for creative meanings constructed by readers. Thus we get office memos or textbooks or entertaining novels.

Related Information: Reading is multi-level

When we read a text, we pick up visual cues based on font size and clarity, the presence or absence of "pictures," spelling, syntax, discourse cues, and topic. In other words, we integrate data from a text including its smallest and most discrete features as well as its largest, most abstract features. Usually, we don't even know we're integrating data from all these levels. In addition, data from the text is being integrated with what we already know from our experience in the world about all fonts, pictures, spelling, syntax, discourse, and the topic more generally. No wonder reading is so complex!

Related Information: Reading is Strategic

We change our reading strategies (processes) depending on why we're reading. If we are reading an instruction manual, we usually read one step at a time and then try to do whatever the instructions tell us. If we are reading a novel, we don't tend to read for informative details. If we a reading a biology textbook, we read for understanding both of concepts and details (particularly if we expected to be tested over our comprehension of the material.)

Our goals for reading will affect the way we read a text. Not only do we read for the intended message, but we also construct a meaning that is valuable in terms of our purpose for reading the text.

Strategic reading also allows us to speed up or slow down, depending on our goals for reading (e.g. scanning newspaper headlines v. Carefully perusing a feature story).

Strategies for Reading More Critically

Although you probably already read critically in some respects, here are some things you can do when you read a text to improve your critical reading skills.

Most successful critical readers do some combination of the following strategies:

Summarizing

Previewing a text means gathering as much information about the text as you can before you actually read it. You can ask yourself the following questions:

What is my Purpose for Reading?

If you are being asked to summarize a particular piece of writing, you will want to look for the thesis and main points. Are you being asked to respond to a piece? If so, you may want to be conscious of what you already know about the topic and how you arrived at that opinion.

What can the Title Tell Me About the Text?

Before you read, look at the title of the text. What clues does it give you about the piece of writing? It may reveal the author's stance, or make a claim the piece will try to support. Good writers usually try to make their titles do work to help readers make meaning of the text from the reader's first glance at it.

Who is the Author?

If you have heard the author's name before, what comes to your mind in terms of their reputation and/or stance on the issue you are reading about? Has the author written other things of which you are aware? How does the piece in front of you fit into to the author's body of work? What is the author's political position on the issue they are writing about? Are they liberal, conservative, or do you know anything about what prompted them to write in the first place?

How is the Text Structured?

Sometimes the structure of a piece can give you important clues to its meaning. Be sure to read all section headings carefully. Also, reading the opening sentences of paragraphs should give you a good idea of the main ideas contained in the piece.

Annotating is an important skill to employ if you want to read critically. Successful critical readers read with a pencil in their hand, making notes in the text as they read. Instead of reading passively, they create an active relationship with what they are reading by "talking back" to the text in its margins. You may want to make the following annotations as you read:

Mark the Thesis and Main Points of the Piece

Mark key terms and unfamiliar words, underline important ideas and memorable images, write your questions and/or comments in the margins of the piece, write any personal experience related to the piece, mark confusing parts of the piece, or sections that warrant a reread, underline the sources, if any, the author has used.

Mark the thesis and main points of the piece. The thesis is the main idea or claim of the text, and relates to the author's purpose for writing. Sometimes the thesis is not explicitly stated, but is implied in the text, but you should still be able to paraphrase an overall idea the author is interested in exploring in the text. The thesis can be thought of as a promise the writer makes to the reader that the rest of the essay attempts to fulfill.

The main points are the major subtopics, or sub-ideas the author wants to explore. Main points make up the body of the text, and are often signaled by major divisions in the structure of the text.

Marking the thesis and main points will help you understand the overall idea of the text, and the way the author has chosen to develop her or his thesis through the main points s/he has chosen.

While you are annotating the text you are reading, be sure to circle unfamiliar words and take the time to look them up in the dictionary. Making meaning of some discussions in texts depends on your understanding of pivotal words. You should also annotate key terms that keep popping up in your reading. The fact that the author uses key terms to signal important and/or recurring ideas means that you should have a firm grasp of what they mean.

You will want to underline important ideas and memorable images so that you can go back to the piece and find them easily. Marking these things will also help you relate to the author's position in the piece more readily. Writers may try to signal important ideas with the use of descriptive language or images, and where you find these stylistic devices, there may be a key concept the writer is trying to convey.

Writing your own questions and responses to the text in its margins may be the most important aspect of annotating. "Talking back" to the text is an important meaning-making activity for critical readers. Think about what thoughts and feelings the text arouses in you. Do you agree or disagree with what the author is saying? Are you confused by a certain section of the text? Write your reactions to the reading in the margins of the text itself so you can refer to it again easily. This will not only make your reading more active and memorable, but it may be material you can use in your own writing later on.

One way to make a meaningful connection to a text is to connect the ideas in the text to your own personal experience. Where can you identify with what the author is saying? Where do you differ in terms of personal experience? Identifying personally with the piece will enable you to get more out of your reading because it will become more relevant to your life, and you will be able to remember what you read more easily.

Be sure to mark confusing parts of the piece you are reading, or sections that warrant a reread. It is tempting to glide over confusing parts of a text, probably because they cause frustration in us as readers. But it is important to go back to confusing sections to try to understand as much as you can about them. Annotating these sections may also remind you to bring up the confusing section in class or to your instructor.

Good critical readers are always aware of the sources an author uses in her or his text. You should mark sources in the text and ask yourself the following questions:

• Is the source relevant? In other words, does the source work to support what the author is trying to say?
• Is the source credible? What is his or her reputation? Is the source authoritative? What is the source's bias on the issue? What is the source's political and/or personal stance on the issue?
• Is the source current? Is there new information that refutes what the source is asserting? Is the writer of the text using source material that is outdated?

Summarizing the text you've read is an valuable way to check your understanding of the text. When you summarize, you should be able to find and write down the thesis and main points of the text.

Annotating the thesis and main points

Analyzing a text means breaking it down into its parts to find out how these parts relate to one another. Being aware of the functions of various parts of a piece of writing and their relationship to one another and the overall piece can help you better understand a text's meaning. To analyze a text, you can look at the following things:

• Assumptions
• Author Bias

Analyzing Evidence

Consider the evidence the author presents. Is there enough evidence to support the point the author is trying to make? Does the evidence relate to the main point in a logical way? In other words, does the evidence work to prove the point, or does is contradict the point, or show itself to be irrelevant to the point the author is trying to make?

Related Information: Source Evaluation

Analyzing Assumptions

Consider any assumptions the author is making. Assumptions may be unstated in the piece of writing you are assessing, but the writer may be basing her or his thesis on them. What does the author have to believe is true before the rest of her or his essay makes sense?

Example: "[I]f a college recruiter argues that the school is superior to most others because its ratio of students to teachers is low, the unstated assumptions are (1) that students there will get more attention, and (2) that more attention results in a better education" (Crusius and Channell, The Aims of Argument , Mayfield Publishing Co., 1995).

Analyzing Sources

If an author uses outside sources to back up what s/he is saying, analyzing those sources is an important critical reading activity. Not all sources are created equal. There are at least three criteria to keep in mind when you are evaluating a source:

• Is the Source Relevant?
• Is the Source Credible?
• Is the Source Current?

Analyzing Author Bias

Taking a close look at the author's bias can tell you a lot about a text. Ask yourself what experiences in the author's background may have led him or her to hold the position s/he does. What does s/he hope to gain from taking this position? How does the author's position stand up in comparison to other positions on the issue? Knowing where the author is "coming from" can help you to more easily make meaning from a text.

Re-reading is a crucial part of the critical reading process. Good readers will reread a piece several times, until they are satisfied they know it inside and out. It is recommended that you read a text three times to make as much meaning as you can.

The First Reading

The first time you read a text, skim it quickly for its main ideas. Pay attention to the introduction, the opening sentences of paragraphs, and section headings, if there are any. Previewing the text in this way gets you off to a good start when you have to read critically.

The Second Reading

The second reading should be a slow, meditative read, and you should have your pencil in your hand so you can annotate the text. Taking time to annotate your text during the second reading may be the most important strategy to master if you want to become a critical reader.

The Third Reading

The third reading should take into account any questions you asked yourself by annotating the margins. You should use this reading to look up any unfamiliar words, and to make sure you have understood any confusing or complicated sections of the text.

Responding to what you read is an important step in understanding what you read. You can respond in writing, or by talking about what you've read to others. Here are several ways you can respond critically to a piece of writing:

• Writing a Response in Your Writer's Notebook
• Discussing the Text with Others

Writing a response in your writer's notebook

One way to make sure you have understood a piece of writing is to write a response to it. It may be beneficial to first write a summary of the text, covering the thesis and main points in an unbiased way. Pretend you are reporting on the "facts" of the piece to a friend who has not read it, the point being to keep your own opinion out of the summary. Once you have summarized the author's ideas objectively, you can respond to them in your writer's notebook. You can agree or disagree with the text, interpret it, or analyze it. Working with your reading of the text by responding in writing is a good way to read critically.

Keeping a writer's notebook

A writer's notebook, or journal, is a place in which you can respond to your reading. You should feel free to say what you really think about the piece you are reading, to ask questions, and to express frustration or confusion about the piece. The writer's notebook is a place you can come back to when it is time to write an assignment, to look for your initial reactions to your readings, or to pull support for an essay from personal experience you may have recorded. Writing about what you are reading is a way to become actively engaged in the critical reading process.

Discussing the text with others

Cooperative activities are important to critical reading just as they are to the writing process. Sharing your knowledge of a text with others reading the same text is a good way to check your understanding and open up new avenues of comprehension. You can annotate a text on your own first, and then confer with a group of classmates about how they annotated their texts. Or, you can be sure to participate in class discussion of a shared text--verbalizing your ideas about a text will reinforce your reading process.

Critically Reading Assignment Sheets

It is important to have read your assignment sheet critically before you begin to write. Consider the following things:

Analyze your Assignment Sheet Carefully

Pay attention to the length of the essay, and other requirements, plan your time well.

You may want to annotate your assignment sheet like you would any other piece of writing. Look for key terms like analyze, interpret, argue, summarize, compare, contrast, explain, etc. These terms will tell you your purpose for writing. Be sure to know how your instructor is using key words on the assignment sheet. If you don't understand something about the assignment, be sure to ask your instructor. It's vital to understand the assignment completely before you begin writing.

Be sure to have a firm grasp on what you must do to meet the requirements of the assignment. Know how long the essay must be, because this will affect the thesis and focus of the paper. Short papers dictate a narrow focus, whereas longer paper allow for a larger focus.

Know also what formatting requirements are in place, such as font size, margins and other constraints.

Know when the assignment due date is and be sure to allow enough time for all thinking, reading, researching , drafting and revising. Be aware of your instructor's policy on due dates. Most instructors do not accept late papers.

Reading for Meaning

After you've read an essay once, use the following set of questions to guide your re-readings of the text. The question on the left-hand side will help you describe and analyze the text; the question on the right hand side will help focus your response(s).

Remember that not all these questions will be relevant to any given essay or text, but one or two of them may suggest a direction or give a focus to your overall response.

When one of these questions suggests a focus for your response to the essay, go back to the text to gather evidence to support your response.

Citation Information

Debra Walker, Kate Kiefer, and Stephen Reid. (1994-2024). Critical Reading. The WAC Clearinghouse. Colorado State University. Available at https://wac.colostate.edu/repository/writing/guides/.

Copyright Information

Copyright © 1994-2024 Colorado State University and/or this site's authors, developers, and contributors . Some material displayed on this site is used with permission.

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Critical reading: what is critical reading, and why do i need to do it.

Critical reading means that a reader applies certain processes, models, questions, and theories that result in enhanced clarity and comprehension. There is more involved, both in effort and understanding, in a critical reading than in a mere "skimming" of the text. What is the difference? If a reader "skims" the text, superficial characteristics and information are as far as the reader goes. A critical reading gets at "deep structure" (if there is such a thing apart from the superficial text!), that is, logical consistency, tone, organization, and a number of other very important sounding terms.

What does it take to be a critical reader? There are a variety of answers available to this question; here are some suggested steps:

1. Prepare to become part of the writer's audience.

After all, authors design texts for specific audiences, and becoming a member of the target audience makes it easier to get at the author's purpose. Learn about the author, the history of the author and the text, the author's anticipated audience; read introductions and notes.

2. Prepare to read with an open mind.

Critical readers seek knowledge; they do not "rewrite" a work to suit their own personalities. Your task as an enlightened critical reader is to read what is on the page, giving the writer a fair chance to develop ideas and allowing yourself to reflect thoughtfully, objectively, on the text.

3. Consider the title.

This may seem obvious, but the title may provide clues to the writer's attitude, goals, personal viewpoint, or approach.

4. Read slowly.

Again, this appears obvious, but it is a factor in a "close reading." By slowing down, you will make more connections within the text.

5. Use the dictionary and other appropriate reference works.

If there is a word in the text that is not clear or difficult to define in context: look it up. Every word is important, and if part of the text is thick with technical terms, it is doubly important to know how the author is using them.

6. Make notes.

Jot down marginal notes, underline and highlight, write down ideas in a notebook, do whatever works for your own personal taste. Note for yourself the main ideas, the thesis, the author's main points to support the theory. Writing while reading aids your memory in many ways, especially by making a link that is unclear in the text concrete in your own writing.

7. Keep a reading journal

In addition to note-taking, it is often helpful to regularly record your responses and thoughts in a more permanent place that is yours to consult. By developing a habit of reading and writing in conjunction, both skills will improve.

Critical reading involves using logical and rhetorical skills. Identifying the author's thesis is a good place to start, but to grasp how the author intends to support it is a difficult task. More often than not an author will make a claim (most commonly in the form of the thesis) and support it in the body of the text. The support for the author's claim is in the evidence provided to suggest that the author's intended argument is sound, or reasonably acceptable. What ties these two together is a series of logical links that convinces the reader of the coherence of the author's argument: this is the warrant. If the author's premise is not supportable, a critical reading will uncover the lapses in the text that show it to be unsound.

Questions, comments, and other sundry things may be sent to [email protected]

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How to Write a Reader Response

Last Updated: March 19, 2024 Fact Checked

This article was co-authored by Diane Stubbs . Diane Stubbs is a Secondary English Teacher with over 22 years of experience teaching all high school grade levels and AP courses. She specializes in secondary education, classroom management, and educational technology. Diane earned a Bachelor of Arts in English from the University of Delaware and a Master of Education from Wesley College. There are 9 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 438,737 times.

A reader response assignment asks you to explain and defend your personal reaction to an assigned text. Reader response papers can be difficult because they force you, the reader, to take responsibility for giving meaning to the text. Often these assignments feel open-ended and vague, but don't worry, a good reader response paper will follow a standard essay format that you can easily master. This guide will walk you through the creation of a well-crafted reader response paper that's sure to wow your instructor and earn you an awesome grade.

Writing the Reader Response

• It is often helpful to use the first body paragraph to include more information about the text, the plotline, major themes, etc., and then use the rest of the paragraphs to provide an analysis of how you felt about the text.

• Remember that a reader response is meant to be personal, so it's OK to incorporate personal anecdotes and opinions into your analysis.
• Example: "Forcing Hester Prynne to wear the scarlet "A" reminded me of a time when I was cyber-bullied in eighth grade, and my "friends" spread rumors about me online where the whole school could see."

• Example: "At the end of The Old Man and the Sea, Manolin promises to once again fish with Santiago, so the old man no longer has to be alone. This was Santiago's greatest wish, but it was a different kind of success than he initially set out to achieve."

• Example: "'My big fish must be somewhere,' said Santiago. This is exactly how I felt after I received my third rejection letter, but like Santiago, I kept trying, and eventually I was accepted."
• Make sure and cite your examples per class directions. You will usually be required to note the page numbers of any quotations or specific examples in parentheses at the end of the sentence.

• A great way to think of your conclusion is that it's one last chance to explain to your reader how you see all of your points fitting together.

• Sometimes it's hard to see our own mistakes, so it can really help to exchange papers with a friend, and proofread each other's work.

Drafting the Reader Response

• "Even though I found The Scarlett Letter hard to follow at times, Hester Prynne's story is still relatable, and made me think a lot about the effects of publicly shaming people online."
• "Some people believe the Old Man and the Sea is a book about failure, but it is really a story of perseverance that teaches us that success may not always come in the form we expect, and even disasters can lead to positive outcomes."

• Introduction: 1 paragraph.
• Analysis/Body Paragraphs: 3-4 paragraphs. How you organize these paragraphs will depend on the parameters of the assignment.
• Conclusion: 1 paragraph.

Reading the Text

• Do you like or dislike the text?
• Can you identify the author's purpose?
• Do you agree or disagree with the author?
• Does the text relate to you and your life? If so, how? If not, why not?
• Does the text agree with, or go against your personal world view?
• What, if anything, did you learn from the text?

• Taking a bit of extra time during this phase will save you a lot of time in the writing process. [9] X Research source

• I think that...
• I feel that...
• I see that...
• I have learned that...

Sample Reader Response

Community Q&A

You Might Also Like

• ↑ https://penandthepad.com/rules-writing-reading-response-essay-3968.html
• ↑ https://courses.lumenlearning.com/suny-jefferson-english102/chapter/reader-response-criticism-american-literature-i/
• ↑ https://writingstudio.gsu.edu/files/2021/02/Reading-Response.pdf
• ↑ https://owl.purdue.edu/owl/general_writing/the_writing_process/proofreading/steps_for_revising.html
• ↑ https://faculty.washington.edu/momara/Reader%20Response.pdf
• ↑ https://www.grammarly.com/blog/essay-outline/
• ↑ http://www.hunter.cuny.edu/rwc/handouts/the-writing-process-1/invention/Writing-a-Response-or-Reaction-Paper
• ↑ http://education-portal.com/articles/Step-by-Step_Guide_to_Writing_a_Great_Reading_Response_Paper.html
• ↑ https://www.hunter.cuny.edu/rwc/handouts/the-writing-process-1/invention/Writing-a-Response-or-Reaction-Paper

About This Article

To write a reader response, develop a clear thesis statement and choose example passages from the text that support your thesis. Next, write an introduction paragraph that specifies the name of the text, the author, the subject matter, and your thesis. Then, include 3-4 paragraphs that discuss and analyze the text. Finish up with a conclusion paragraph that summarizes your arguments and brings the reader back to your thesis or main point! For tips on analyzing the text before writing your assignment, read on! Did this summary help you? Yes No

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Academic genres: the Critical Response

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What is a Critical Response?

• a type of writing task, requiring different sections depending on the task requirements
• it may be a ‘response’ to a concept, or an article, or more than one article
• at REW, it requires only two sections: Summary and Discussion

Why is it useful?

• It requires the highly valued academic skills of summarising and critical thought.
• It requires the ability to develop a clear and logical ‘academic argument’, which is extremely important for university and beyond.
• It is a relatively flexible genre, which is both challenging and useful for international students in terms of preparing them for university.

What does my summary need?

A summary can be written in different ways, but ultimately it should:

• give the most important content from a text (whether listening or reading)
• have different wording (i.e. no language copied from the original)
• be significantly shorter than the original

What does my discussion section need?

In each discussion paragraph, you should:

• give one paraphrased idea from the original article/s
• show your 'response' (whether you agree / disagree / partially agree)
• develop your response with more detail

Let's look at some strategies for writing both of these sections. 

How do I summarise?

There are many ways to approach this process, but here’s one of the most effective ways: 1. Find the main ideas  in your article/s.How do you do this? Look for the following:

• ‘strong’ language, usually shown by adjectives or adverbs (e.g. the most significant / the main reason / terrible / amazing / the best / the worst )
• powerful grammatical structures e.g. short strong simple sentences or sentences that show emphasis (‘It is for this reason that X is important.’ /  ‘What makes this significant is...’ / ‘Most importantly, this means...’)
• questions (these sometimes introduce main points, especially if they are at the beginning of a paragraph)
• cause / effect language

  2. Paraphrase  the main ideas.

The easiest way to do this is by annotating. This means changing the words of the original (and may also include changing word forms and word order of words from the article) and then writing your paraphrases in note form beside the text. Why is this the easiest way? Because then you can copy directly from your notes without worrying about plagiarism.

That’s fine, but don’t expect to pass exams or university courses! 3.   Organise  your ideas then  start writing . Do a quick plan from your notes to make sure you:

• include important points
• paraphrase everything
• have a logical order
• can see where main points can be connected 

Here's an example of a plan:

Not so clever country?

• higher taxes are paid
• communities benefit because more jobs and more active economy
• ability to think critically
• specialist skills
• less burden on health care system
• less likely to commit crimes

Ideas from article 'Not so clever country?' in RMIT English Worldwide Advanced Passport book

Now you're ready to write! Remember to first put your heading: Summary.    Your first sentence should include: 

• the author’s full name (or authors' names if you have two or more)
• the title of the article/s
• the year of the article/s
• the overall topic of the article/s (or their overall position/s)

 Then, connect all of the main points together using: 

• your own words (avoid copying anything from the original article)
• linking words e.g. First / The author adds that / Thirdly, / Her last point is ...   *use the author's family name after the first sentence
• referents e.g. this / it / the / which
• a range of reporting verbs (e.g. claims / states / believes / argues / points out / thinks)
• different sentence structures (simple, compound, complex – if you don’t know how to do this, watch  this video )
• academic vocabulary including appropriate  collocations

Let's look at an example of a single summary. Note the reporting verbs (in yellow) are in present tense. Even if some of your main points have different verb tenses, you should always keep reporting verbs in present simple. 

Summary In the article 'Not so clever country?', Marion Jacobs (2010) argues that cuts to funding for universities have a negative impact. She believes  that universities should be supported because of the economic and societal benefits they provide. The economic advantages she explains include more taxes from graduates and extra jobs and income for local communities. Lastly, Jacobs claims that benefits for society include not only graduates' ability to think critically and their specialist skills, but also that they are less of a burden on the health care system and are less likely to commit crimes.  (95 words)

What if I need to talk about two articles?

Then you can either summarise them separately or together – use the one you prefer or the most suitable according to the number of main points in the articles. If you put the summaries together, you will have contrasting language between the different articles’ main ideas e.g. while / whereas / but / however. If you do two separate summaries, you will only need one contrast linking word in the first sentence of second article’s summary. You can see all these concepts highlighted below in the example of two summaries:

Two summaries together

In the articles ‘How much English is enough’ (2011) by Jane Cuthbert and ‘Globish? It just doesn’t make sense’ (2014) by Peter Jackson , Globish, a simplified version of English, is discussed. While Cuthbert argues that Globish is a useful development in English language teaching, Jackson thinks that it is idealistic and will not work in reality.  He believes that the lack of grammar in Globish can cause misunderstandings, whereas Cuthbert states that Globish does not focus on accuracy and is therefore easier to teach or study independently.  In addition , she claims that being independent of culture and limited in vocabulary size are benefits of Globish; however, Jackson feels that it is impossible for language to be separated from culture, as well as the fact that Globish’s limited vocabulary may not be enough for business or deeper levels of communication.

(139 words)

Two separate summaries

In the article ‘How much English is enough?’, Jane Cuthbert (2011) discusses the advantages of Globish, while in the article ‘Globish – it just doesn’t make sense” (2014), Peter Jackson considers its limitations.  Cuthbert (2011) argues that the reduction in vocabulary size and grammar promotes confidence and that 1500 words is sufficient for communicative purposes. In addition , she believes that there is no culture in Globish, which makes it more accessible for students. Finally , the author states that Globish is not only easier to teach than English, but also more useful in terms of developing learner independence.   However, Jackson (2014) argues against Globish. He believes that its simplicity does not mean it is easier to use, because it could lead to communication problems and is not suitable for certain contexts. The writer also argues that the vocabulary range is too small and that culture cannot be separated from language.

(148 words)

Summary - two ways (based on material in the RMIT English Worldwide Advanced Passport book)

What do the colours highlight? 

• blue : author's name or referents
• green : linking phrases expressing contrast
• yellow : other linking phrases

It’s important that these are all varied. Why? Because this shows that you can: 

• control a range of grammatical structures
• create cohesion (i.e. your sentences flow – like a river!)
• use a range of academic and less common vocabulary (including collocations) accurately and appropriately
• follow academic convention (do things how they want you to at uni)

Note: style variations are possible. For example, if you do summaries separately, you may still like to introduce both authors and articles in the first sentence (like if you put them together) and then do them separately after the first sentence. 

What about the discussion section?

I’m glad you asked! This is where you put your own ideas in response to the author’s ideas. Depending on your task requirements, you may need two, three, or even four discussion paragraphs in this section. Each one will show your response and support for your response to an idea from the original article.

What is support?

It’s any extra information that makes your ideas more clear. For example, you might use a reason or two, an example or two, a fact or statistic, or an explanation of a situation to make your response more credible (logical and believable). In reality, you’ll probably mix a few of these together. In the end, what matters is that someone should be able to read what you’ve written and then clearly understand why you’re supporting or criticising what the author has said.

Actually, you can. In fact, you should! The entire academic world in our context is based on shared knowledge, so we all have a responsibility to think carefully about anything we’re told, compare it with what we know, find out more about it, and develop an informed perspective on it  that we can support with logical reasoning and evidence . If you don’t do this, you are not meeting the expectations of the academic community. 

How can I write a discussion paragraph?

There are many ways, but here’s a good way to try. 1. Choose  an idea from the original article. ​ 2. Think  about it. What do you know about it? Do you agree or disagree? Partially agree? Why? This is your response and it needs to be very clear throughout the paragraph. 3. Plan  the explanation of your response by thinking of ways to support it. To do this, imagine someone doesn’t believe you and keeps asking you ‘Why do you think that?’  or ‘Why does that matter?’. That way you will explain your response and support it with enough detail. Try to think of one or more of the following:  

• explanation
• facts / statistics if you can remember them

Exactly like in your summary, use:

• cohesive devices
• different sentence structures 
• academic vocabulary including appropriate collocations

There’s one more step that we haven’t looked at yet... Can you guess what it is? 5. Edit  what you’ve written! This means re-reading your writing, looking for mistakes and checking that what you said makes sense. This is vital for two main reasons:

• to ensure that your final text is accurate (in a perfect world, with no mistakes!)
• to improve your ability to check your own writing

What mistakes should you look for? Check:

• subject verb agreement
• nouns – are they countable? Should they be singular or plural? Do you need an article?
• verb tenses – are they the right ones?
• linking words + grammar – did you write a clause (subject + verb...) after linking words like ‘because’? Did you write nouns or verb-ing after linking propositions like ‘due to’ and ‘because of’?
• cohesion – did you use words like ‘this’, ‘it’, ‘the’, and ‘which’ to refer to other things in the paragraph?
• sentence structure: e.g. do you have one subject and one main verb in each clause? 

Let’s look at three already edited examples with three different responses. Find the paragraph that:

• supports the author’s idea
• partially agrees with the author’s idea
• disagrees with the author’s idea

Here are some questions to help check if you understand the paragraph structure:

• What is the red section in each paragraph?
• What’s the yellow?
• What’s the green?
• What are the underlined words/phrases?

See if you were right: Answers

• the author’s idea
• my response language
• support for my response
• linking devices (i.e. things that create cohesion)

When you write your discussion paragraph, you might use language like this to make your response clear. Which ones are used in the example above? 

Why is there no conclusion in these critical responses? It's because they're not a necessary requirement of a critical response task at RMIT Training, although it's ok if you want to write a conclusion once you're sure you have a clear summary and discussion section. In other places around the world, you may always need to do a conclusion. This is why we need to check every time what the task requirements are!  Because it's so important to check your own writing, try these ideas if you're not confident about editing:

• watch the  sentence structure video  on this blog
• try  Tense Buster  at the RMIT Learning Lab
• download a grammar app 
• buy a grammar or academic writing book (see your teacher or a Study Support Teacher for suggestions)
• ask someone like a Study Support Teacher for help 

After you've tried these steps, show someone your writing and get their feedback. With a summary, someone must be able to understand the main ideas without seeing the original text, and showing another person is a good way to check this. If they ask questions about what you wrote, you might need to re-write it more clearly.  It also helps if you read other people’s writing. Everyone has their own personal writing style, and being exposed to these is helpful for you in terms of developing your style. What are you waiting for? Get started writing the best critical response you've ever written.

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14 Student Essay Example: Reader Response

“the bees without a king”.

By Ethan McCall

When reading Kurt Vonnegut’s short story “The Drone King,” most readers would come away from the story with the idea that Sheldon Quick is just a crazy businessman who invested in the wrong idea. I mean, what sane person would think that inventing carrier bees in a world with the wireless telegraph is a good idea? That’s just the thing though. No sane person would think that it’s a sound business idea. However, this story by Kurt Vonnegut likely speaks differently to a particular audience. This story’s implied readers are a specific demographic of men who call themselves Incels. While it at first appears to be a story that reflects with and represents the ideologies of Incels, it eventually reveals itself to be a critique of their worldview and ideologies.

Now, before I go any further, I must first shed some light on what an Incel is and the community that they belong to. Incel is a term that means “involuntarily celibate.” This online community of Incels is comprised of men who are bitter about their lack of sexual experience, and they blame women for it. The men belonging to this group also blame women and feminism for the “downfall” of society. They believe that women have dominated the world and now unfairly discriminate against men, thus robbing them of the social dominance in society that they believe men should have (Glace 288-289).

The character of Sheldon Quick in Vonnegut’s story is eerily similar to these men who call themselves Incels. Sheldon Quick is a man who has enjoyed a significant level of success and wealth throughout his life. One would think that given his circumstances, he has almost everything that he could ever want. However, from his first appearance, his biases become clear. When the stockbroker enters the Millennium Club to meet Mr. Quick, he is stopped at the front desk and informed that there are no women allowed into the club (Vonnegut). As a reader, this immediately sets off alarm bells in my head and paints an unflattering picture of Sheldon Quick. The Millennium Club and its patrons very clearly have some very negative views on women if they won’t even allow them to enter the building. However, someone from the Incel community would very likely agree with and praise this rule for how it puts women back into their place.

Rather than women dominating men and taking over their spaces as Incels believe women have been doing for quite some time now, they aren’t even allowed in the same spaces as men anymore. This lack of proximity lets men be themselves and innovate as they are supposed to without being disturbed by the lesser sex. To Incels, women have no inherent value aside from being able to have sex with men. This mindset can be seen in Glace’s article on Incels. When women have expressed that men who only want sex are disgusting, Incels have responded callously: “[W]hat the fuck else is there to want from such a vapid shell of a person? Your only redeeming quality is that you can lay still and take a dick. Why are you surprised?” (Glace, Taking the Black Pill 294-295). However, these roles are swapped within the world of the bees. The male bees are exterminated once they fulfill their only function of mating with the queen (Vonnegut). The reason that Mr. Quick, and by extension the Incel, are so interested in the plight of the male bee is because they are being discriminated against in the same way that Incels discriminate against women.

This is another sentiment that Incels latch onto and agree with. They believe that men are the wrongfully oppressed gender, and women have stolen their rightful place in society (Glace 288-289). This idea that men are being oppressed by women is further expanded upon when Mr. Quick takes the stockbroker up to the roof where his bees are being kept. When they arrive on the roof, they come across the scene of large bees stumbling out of their hives being hunted and killed by smaller bees. As Mr. Quick saved the large bees, the stockbroker asked him what was happening. Mr. Quick replies that it’s a bee war between the large males and the smaller female bees. When the stockbroker asks which bees the hives belonged to originally, Mr. Quick says that “Your question is good enough to be chiseled in granite for all time to ponder” (Vonnegut). From this scene, it becomes very clear how Mr. Quick feels about the plight of the male bees, and by extension, the human males of our world.

Mr. Quick believes that males have constructed society as we know it. They’ve worked tirelessly to construct the foundation of the world. However, now women have come in and pushed the men out of their positions of power, thereby taking the world for themselves. An Incel reader reading this would most likely be agreeing with Mr. Quick and his views on the world. This way of thinking about the role of women is very much in line with how Incels think about women. They have unrightfully taken the roles of leadership that men used to have, and are now discriminating against them, exactly how the male bees from the hives that they built are being pushed out from their homes and being torn to pieces by the female bees.

Much like Incels, Mr. Quick has determined that men are under attack from women, and drastic measures need to be taken in order to save the male species from this unrightful persecution. Due to this unfair exclusion of male bees from their hives, Mr. Quick is determined to save them, because much like the human male, Mr. Quick believes that male bees will be safe from female tyranny if they are kept away from women. He does this by creating a new hive for them that consists only of other male bees that have been forced out of their hives. In their new hives, they aren’t forced to do anything or be productive. According to Mr. Quick, the reason that the male bees can enjoy their lives in such leisure is that they are free from the demanding and thankless females (Vonnegut). This is very similar to the Millennium Club to which Mr. Quick belongs due to the fact that in both the new hive and the Millennium Club, no women are allowed. Mr. Quick’s observations about bees have poisoned his views on women.

From this point on, a reader from the Incel community would likely expect that Mr. Quick would continue to fight against the female rule that the world has come to be subjected to. However, subverting these expectations of the reader, the story starts to slowly show that Mr. Quick’s philosophy is incorrect. When Mr. Quick tells the stockbroker that they will only have to provide each of their bees with a penny’s worth of honey for an entire year, the stockbroker asks a very astute question: why don’t the male bees make their honey? This is when Mr. Quick reveals that it’s only the female workers that make honey. The stockbroker then points out the obvious. “Huh. I guess that’s why the female workers knock off the males, eh? The males are nothing but a drain on the community” (Vonnegut). This is a key moment in the story that shows just how biased Mr. Quick is. Even though he knows that these male workers contribute nothing and instead are only a burden on the colony, he still believes that the female bees clearing them out of the hive is unjust.

This echoes back to his situation. He was left a large sum of money by his father and has spent his life doing anything but work. Mr. Quick sees himself in the male bees. They’re both useless and provide nothing to their respective societies, yet Mr. Quick thinks that they both deserve a respected spot in the societies that they’ve contributed nothing to. A reader from the Incel community would likely be affected negatively by this development in the story. While the story was at first reiterating and reaffirming Incel ideology, all of a sudden, it’s pointing out flaws in their beliefs.

The ideals of Mr. Quick, and by extension the Incel, continue to be challenged, and ultimately proven wrong, at the press conference that he holds to demonstrate how bees can live in a male-only hive. According to a study by Nicolae-Sorin Drăgan on political narratives, telling a story means to lie or speak falsely. This story is a distortion of an otherwise uncomfortable reality and lying (70). This sort of story is exactly what Mr. Quick tells to the press during his conference. He goes on about how the only crime that male bees have committed is that they can’t make honey, yet they are discriminated against and killed for it. He declares that this system needs to be stopped for the safety of bees, but it’s obvious at this point that Mr. Quick is also talking about human women as well as bees.

However, despite his grandiose speech to the press, when Mr. Quick releases the bees so that they can go to their all-male colony, they don’t. Instead, they go back to the colonies that are run by the female bees and are subsequently killed. It’s at this point in the story that it subverts the expectations of the Incel reader about where the story was going. They were most likely expecting the story to praise Mr. Quick as a hero who was liberating men from the tyranny of females, but rather, the story shows Mr. Quick as a bitter old man who can’t accept his shortcomings and instead blames all of his problems on women and society as a whole. Thus, condemning Incels and their hatred of women, showing them that their lack of importance in society is their fault rather than a malicious plot by women to overthrow men.

While this story first appeared to agree with and support Incel beliefs, painting Mr. Quick to be a wise old man who has realized that women are the problem with society, as the story progresses, it shows that Mr. Quick is a lot of things, but wise isn’t one of them. Instead, he’s a man who was frightened by the social power of women increasing. Seeing this as a threat to men everywhere, Mr. Quick, in his attempt to prove that women were unnecessary, proved only that the ideals he and many Incels believe in are undeniably flawed and fundamentally wrong. This story uses the sympathy that Incel readers initially had for Mr. Quick as a way to challenge their beliefs. By the end of the story, when the character they supported so much is proven to be nothing but a sad man whose judgment was clouded by hate, Incel readers are encouraged to look inward and examine the beliefs that led Mr. Quick to this point and think about where their beliefs will take them. The story uses the downfall of Mr. Quick to inspire a change from the hateful ideology of Incels to something kinder and more tolerant.

Works Cited

Drăgan, Nicolae Sorin. “The Emotional Arcs of Political Narratives.”  Bulletin of the Transilvania University of Braşov, Series IV: Philology & Cultural Studies  13.Suppl (2020): 69-86.  d oi.org/10.31926/but.pcs.2020.62.13.3.6.

Glace, Alyssa M., Tessa L. Dover, and Judith G. Zatkin. “Taking the black pill: An empirical analysis of the “Incel”.”  Psychology of Men & Masculinities  (2021).  doi.org/10.1037/men0000328.

Vonnegut, Kurt. “A Newly Discovered Kurt Vonnegut Story.”  The Atlantic , Atlantic Media Company, 10 Jan. 2020,  www.theatlantic.com/magazine/archive/2017/10/kurt-vonnegut-the-drone-king/537870/ .

Critical Worlds Copyright © 2024 by Liza Long is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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2.1.2.11.4.4.1: Reader-Response Criticism

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We have examined many schools of literary criticism. Here you will find an in-depth look at one of them: Reader-Response.

The Purpose of Reader-Response

• why you like or dislike the text;
• explain whether you agree or disagree with the author;
• identify the text’s purpose; and
• critique the text.

Write as a Scholar

Criticize with examples.

• Is the text racist?
• Does the text unreasonably puts down things, such as religion, or groups of people, such as women or adolescents, conservatives or democrats, etc?
• Does the text include factual errors or outright lies? It is too dark and despairing? Is it falsely positive?
• Is the text poorly written?
• Does it contain too much verbal “fat”?
• Is it too emotional or too childish?
• Does it have too many facts and figures?
• Are there typos or other errors in the text?
• Do the ideas wander around without making a point?

In each of these cases, do not simply criticize, but give examples. As a beginning scholar, be cautious of criticizing any text as “confusing” or “crazy,” since readers might simply conclude that you are too ignorant or slow to understand and appreciate it.

The Structure of a Reader-Response Essay

• title of the work to which you are responding;
• the author; and
• the main thesis of the text.
• What does the text have to do with you, personally, and with your life (past, present or future)? It is not acceptable to write that the text has NOTHING to do with you, since just about everything humans can write has to do in some way with every other human.
• How much does the text agree or clash with your view of the world, and what you consider right and wrong? Use several quotes as examples of how it agrees with and supports what you think about the world, about right and wrong, and about what you think it is to be human. Use quotes and examples to discuss how the text disagrees with what you think about the world and about right and wrong.
• What did you learn, and how much were your views and opinions challenged or changed by this text, if at all? Did the text communicate with you? Why or why not? Give examples of how your views might have changed or been strengthened (or perhaps, of why the text failed to convince you, the way it is). Please do not write “I agree with everything the author wrote,” since everybody disagrees about something, even if it is a tiny point. Use quotes to illustrate your points of challenge, or where you were persuaded, or where it left you cold.
• How well does the text address things that you, personally, care about and consider important to the world? How does it address things that are important to your family, your community, your ethnic group, to people of your economic or social class or background, or your faith tradition? If not, who does or did the text serve? Did it pass the “Who cares?” test? Use quotes from the text to illustrate.
• What can you praise about the text? What problems did you have with it? Reading and writing “critically” does not mean the same thing as “criticizing,” in everyday language (complaining or griping, fault-finding, nit-picking). Your “critique” can and should be positive and praise the text if possible, as well as pointing out problems, disagreements and shortcomings.
• How well did you enjoy the text (or not) as entertainment or as a work of art? Use quotes or examples to illustrate the quality of the text as art or entertainment. Of course, be aware that some texts are not meant to be entertainment or art: a news report or textbook, for instance, may be neither entertaining or artistic, but may still be important and successful.
• your overall reaction to the text;
• whether you would read something else like this in the future;
• whether you would read something else by this author; and
• if would you recommend read this text to someone else and why.

Key Takeaways

• In reader-response, the reader is essential to the meaning of a text for they bring the text to life.
• The purpose of a reading response is examining, explaining, and defending your personal reaction to a text.
• When writing a reader-response, write as an educated adult addressing other adults or fellow scholars.
• As a beginning scholar, be cautious of criticizing any text as “boring,” “crazy,” or “dull.” If you do criticize, base your criticism on the principles and form of the text itself.
• The challenge of a reader-response is to show how you connected with the text.

Reader-Response Essay Example

To Misread or to Rebel: A Woman’s Reading of “The Secret Life of Walter Mitty”

At its simplest, reading is “an activity that is guided by the text; this must be processed by the reader who is then, in turn, affected by what he has processed” (Iser 63). The text is the compass and map, the reader is the explorer. However, the explorer cannot disregard those unexpected boulders in the path which he or she encounters along the journey that are not written on the map. Likewise, the woman reader does not come to the text without outside influences. She comes with her experiences as a woman—a professional woman, a divorcée, a single mother. Her reading, then, is influenced by her experiences. So when she reads a piece of literature like “The Secret Life of Walter Mitty” by James Thurber, which paints a highly negative picture of Mitty’s wife, the woman reader is forced to either misread the story and accept Mrs. Mitty as a domineering, mothering wife, or rebel against that picture and become angry at the society which sees her that way.

Due to pre-existing sociosexual standards, women see characters, family structures, even societal structures from the bottom as an oppressed group rather than from a powerful position on the top, as men do. As Louise Rosenblatt states: a reader’s “tendency toward identification [with characters or events] will certainly be guided by our preoccupations at the time we read. Our problems and needs may lead us to focus on those characters and situations through which we may achieve the satisfactions, the balanced vision, or perhaps merely the unequivocal motives unattained in our own lives” (38). A woman reader who feels chained by her role as a housewife is more likely to identify with an individual who is oppressed or feels trapped than the reader’s executive husband is. Likewise, a woman who is unable to have children might respond to a story of a child’s death more emotionally than a woman who does not want children. However, if the perspective of a woman does not match that of the male author whose work she is reading, a woman reader who has been shaped by a male-dominated society is forced to misread the text, reacting to the “words on the page in one way rather than another because she operates according to the same set of rules that the author used to generate them” (Tompkins xvii). By accepting the author’s perspective and reading the text as he intended, the woman reader is forced to disregard her own, female perspective. This, in turn, leads to a concept called “asymmetrical contingency,” described by Iser as that which occurs “when Partner A gives up trying to implement his own behavioral plan and without resistance follows that of Partner B. He adapts himself to and is absorbed by the behavioral strategy of B” (164). Using this argument, it becomes clear that a woman reader (Partner A) when faced with a text written by a man (Partner B) will most likely succumb to the perspective of the writer and she is thus forced to misread the text. Or, she could rebel against the text and raise an angry, feminist voice in protest.

James Thurber, in the eyes of most literary critics, is one of the foremost American humorists of the 20th century, and his short story “The Secret Life of Walter Mitty” is believed to have “ushered in a major [literary] period … where the individual can maintain his self … an appropriate way of assaulting rigid forms” (Elias 432). The rigid form in Thurber’s story is Mrs. Mitty, the main character’s wife. She is portrayed by Walter Mitty as a horrible, mothering nag. As a way of escaping her constant griping, he imagines fantastic daydreams which carry him away from Mrs. Mitty’s voice. Yet she repeatedly interrupts his reveries and Mitty responds to her as though she is “grossly unfamiliar, like a strange woman who had yelled at him in the crowd” (286). Not only is his wife annoying to him, but she is also distant and removed from what he cares about, like a stranger. When she does speak to him, it seems reflective of the way a mother would speak to a child. For example, Mrs. Mitty asks, “‘Why don’t you wear your gloves? Have you lost your gloves?’ Walter Mitty reached in a pocket and brought out the gloves. He put them on, but after she had turned and gone into the building and he had driven on to a red light, he took them off again” (286). Mrs. Mitty’s care for her husband’s health is seen as nagging to Walter Mitty, and the audience is amused that he responds like a child and does the opposite of what Mrs. Mitty asked of him. Finally, the clearest way in which Mrs. Mitty is portrayed as a burdensome wife is at the end of the piece when Walter, waiting for his wife to exit the store, imagines that he is facing “the firing squad; erect and motionless, proud and disdainful, Walter Mitty the Undefeated, inscrutable to the last” (289). Not only is Mrs. Mitty portrayed as a mothering, bothersome hen, but she is ultimately described as that which will be the death of Walter Mitty.

Mrs. Mitty is a direct literary descendant of the first woman to be stereotyped as a nagging wife, Dame Van Winkle, the creation of the American writer, Washington Irving. Likewise, Walter Mitty is a reflection of his dreaming predecessor, Rip Van Winkle, who falls into a deep sleep for a hundred years and awakes to the relief of finding out that his nagging wife has died. Judith Fetterley explains in her book, The Resisting Reader, how such a portrayal of women forces a woman who reads “Rip Van Winkle” and other such stories “to find herself excluded from the experience of the story” so that she “cannot read the story without being assaulted by the negative images of women it presents” (10). The result, it seems, is for a woman reader of a story like “Rip Van Winkle” or “The Secret Life of Walter Mitty” to either be excluded from the text, or accept the negative images of women the story puts forth. As Fetterley points out, “The consequence for the female reader is a divided self. She is asked to identify with Rip and against herself, to scorn the amiable sex and act just like it, to laugh at Dame Van Winkle and accept that she represents ‘woman,’ to be at once both repressor and repressed, and ultimately to realize that she is neither” (11). Thus, a woman is forced to misread the text and accept “woman as villain.” as Fetterley names it, or rebel against both the story and its message.

So how does a woman reader respond to this portrayal of Mrs. Mitty? If she were to follow Iser’s claim, she would defer to the male point of view presented by the author. She would sympathize with Mitty, as Thurber wants us to do, and see domineering women in her own life that resemble Mrs. Mitty. She may see her mother and remember all the times that she nagged her about zipping up her coat against the bitter winter wind. Or the female reader might identify Mrs. Mitty with her controlling mother-in-law and chuckle at Mitty’s attempts to escape her control, just as her husband tries to escape the criticism and control of his own mother. Iser’s ideal female reader would undoubtedly look at her own position as mother and wife and would vow to never become such a domineering person. This reader would probably also agree with a critic who says that “Mitty has a wife who embodies the authority of a society in which the husband cannot function” (Lindner 440). She could see the faults in a relationship that is too controlled by a woman and recognize that a man needs to feel important and dominant in his relationship with his wife. It could be said that the female reader would agree completely with Thurber’s portrayal of the domineering wife. The female reader could simply misread the text.

Or, the female reader could rebel against the text. She could see Mrs. Mitty as a woman who is trying to do her best to keep her husband well and cared for. She could see Walter as a man with a fleeting grip on reality who daydreams that he is a fighter pilot, a brilliant surgeon, a gun expert, or a military hero, when he actually is a poor driver with a slow reaction time to a green traffic light. The female reader could read critics of Thurber who say that by allowing his wife to dominate him, Mitty becomes a “non-hero in a civilization in which women are winning the battle of the sexes” (Hasley 533) and become angry that a woman’s fight for equality is seen merely as a battle between the sexes. She could read Walter’s daydreams as his attempt to dominate his wife, since all of his fantasies center on him in traditional roles of power. This, for most women, would cause anger at Mitty (and indirectly Thurber) for creating and promoting a society which believes that women need to stay subservient to men. From a male point of view, it becomes a battle of the sexes. In a woman’s eyes, her reading is simply a struggle for equality within the text and in the world outside that the text reflects.

It is certain that women misread “The Secret Life of Walter Mitty.” I did. I found myself initially wishing that Mrs. Mitty would just let Walter daydream in peace. But after reading the story again and paying attention to the portrayal of Mrs. Mitty, I realized that it is imperative that women rebel against the texts that would oppress them. By misreading a text, the woman reader understands it in a way that is conventional and acceptable to the literary world. But in so doing, she is also distancing herself from the text, not fully embracing it or its meaning in her life. By rebelling against the text, the female reader not only has to understand the point of view of the author and the male audience, but she also has to formulate her own opinions and create a sort of dialogue between the text and herself. Rebelling against the text and the stereotypes encourages an active dialogue between the woman and the text which, in turn, guarantees an active and (most likely) angry reader response. I became a resisting reader.

Works Cited

Elias, Robert H. “James Thurber: The Primitive, the Innocent, and the Individual.” Contemporary Literary Criticism . Vol. 5. Ed. Dedria Bryfonski. Detroit: Gale Research, 1980. 431–32. Print.

Fetterley, Judith. The Resisting Reader . Bloomington: Indiana UP, 1978. Print.

Hasley, Louis. “James Thurber: Artist in Humor.” Contemporary Literary Criticism . Vol. 11. Ed. Dedria Bryfonski. Detroit: Gale Research, 1980. 532–34. Print.

Iser, Wolfgang. The Act of Reading: A Theory of Aesthetic Response . Baltimore: Johns Hopkins UP, 1981. Print.

Lindner, Carl M. “Thurber’s Walter Mitty—The Underground American Hero.” Contemporary Literary Criticism . Vol. 5. Ed. Dedria Bryfonski. Detroit: Gale Research, 1980. 440–41. Print.

Rosenblatt, Louise M. Literature as Exploration . New York: MLA, 1976. Print.

Thurber, James. “The Secret Life of Walter Mitty.” Literature: An Introduction to Critical Reading . Ed. William Vesterman. Fort Worth: Harcourt Brace, 1993. 286–89. Print.

Tompkins, Jane P. “An Introduction to Reader-Response Criticism.” Reader Response Criticism: From Formalism to Post-Structuralism . Ed. Jane P. Tompkins. Baltimore: Johns Hopkins UP, 1980. ix-xxvi. Print.

Contributors and Attributions

• Putting It Together: Defining Characteristics of Romantic Literature. Authored by : Anne Eidenmuller & Lumen Learning. License : CC BY: Attribution

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4.10: Reader-Response Criticism

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We have examined many schools of literary criticism. Here you will find an in-depth look at one of them: Reader-Response.

The Purpose of Reader-Response

• why you like or dislike the text;
• explain whether you agree or disagree with the author;
• identify the text’s purpose; and
• critique the text.

Write as a Scholar

Criticize with examples.

• Is the text racist?
• Does the text unreasonably puts down things, such as religion, or groups of people, such as women or adolescents, conservatives or democrats, etc?
• Does the text include factual errors or outright lies? It is too dark and despairing? Is it falsely positive?
• Is the text poorly written?
• Does it contain too much verbal “fat”?
• Is it too emotional or too childish?
• Does it have too many facts and figures?
• Are there typos or other errors in the text?
• Do the ideas wander around without making a point?

In each of these cases, do not simply criticize, but give examples. As a beginning scholar, be cautious of criticizing any text as “confusing” or “crazy,” since readers might simply conclude that you are too ignorant or slow to understand and appreciate it.

The Structure of a Reader-Response Essay

• title of the work to which you are responding;
• the author; and
• the main thesis of the text.
• What does the text have to do with you, personally, and with your life (past, present or future)? It is not acceptable to write that the text has NOTHING to do with you, since just about everything humans can write has to do in some way with every other human.
• How much does the text agree or clash with your view of the world, and what you consider right and wrong? Use several quotes as examples of how it agrees with and supports what you think about the world, about right and wrong, and about what you think it is to be human. Use quotes and examples to discuss how the text disagrees with what you think about the world and about right and wrong.
• What did you learn, and how much were your views and opinions challenged or changed by this text, if at all? Did the text communicate with you? Why or why not? Give examples of how your views might have changed or been strengthened (or perhaps, of why the text failed to convince you, the way it is). Please do not write “I agree with everything the author wrote,” since everybody disagrees about something, even if it is a tiny point. Use quotes to illustrate your points of challenge, or where you were persuaded, or where it left you cold.
• How well does the text address things that you, personally, care about and consider important to the world? How does it address things that are important to your family, your community, your ethnic group, to people of your economic or social class or background, or your faith tradition? If not, who does or did the text serve? Did it pass the “Who cares?” test? Use quotes from the text to illustrate.
• What can you praise about the text? What problems did you have with it? Reading and writing “critically” does not mean the same thing as “criticizing,” in everyday language (complaining or griping, fault-finding, nit-picking). Your “critique” can and should be positive and praise the text if possible, as well as pointing out problems, disagreements and shortcomings.
• How well did you enjoy the text (or not) as entertainment or as a work of art? Use quotes or examples to illustrate the quality of the text as art or entertainment. Of course, be aware that some texts are not meant to be entertainment or art: a news report or textbook, for instance, may be neither entertaining or artistic, but may still be important and successful.
• your overall reaction to the text;
• whether you would read something else like this in the future;
• whether you would read something else by this author; and
• if would you recommend read this text to someone else and why.

Key Takeaways

• In reader-response, the reader is essential to the meaning of a text for they bring the text to life.
• The purpose of a reading response is examining, explaining, and defending your personal reaction to a text.
• When writing a reader-response, write as an educated adult addressing other adults or fellow scholars.
• As a beginning scholar, be cautious of criticizing any text as “boring,” “crazy,” or “dull.” If you do criticize, base your criticism on the principles and form of the text itself.
• The challenge of a reader-response is to show how you connected with the text.

Reader-Response Essay Example

To Misread or to Rebel: A Woman’s Reading of “The Secret Life of Walter Mitty”

At its simplest, reading is “an activity that is guided by the text; this must be processed by the reader who is then, in turn, affected by what he has processed” (Iser 63). The text is the compass and map, the reader is the explorer. However, the explorer cannot disregard those unexpected boulders in the path which he or she encounters along the journey that are not written on the map. Likewise, the woman reader does not come to the text without outside influences. She comes with her experiences as a woman—a professional woman, a divorcée, a single mother. Her reading, then, is influenced by her experiences. So when she reads a piece of literature like “The Secret Life of Walter Mitty” by James Thurber, which paints a highly negative picture of Mitty’s wife, the woman reader is forced to either misread the story and accept Mrs. Mitty as a domineering, mothering wife, or rebel against that picture and become angry at the society which sees her that way.

Due to pre-existing sociosexual standards, women see characters, family structures, even societal structures from the bottom as an oppressed group rather than from a powerful position on the top, as men do. As Louise Rosenblatt states: a reader’s “tendency toward identification [with characters or events] will certainly be guided by our preoccupations at the time we read. Our problems and needs may lead us to focus on those characters and situations through which we may achieve the satisfactions, the balanced vision, or perhaps merely the unequivocal motives unattained in our own lives” (38). A woman reader who feels chained by her role as a housewife is more likely to identify with an individual who is oppressed or feels trapped than the reader’s executive husband is. Likewise, a woman who is unable to have children might respond to a story of a child’s death more emotionally than a woman who does not want children. However, if the perspective of a woman does not match that of the male author whose work she is reading, a woman reader who has been shaped by a male-dominated society is forced to misread the text, reacting to the “words on the page in one way rather than another because she operates according to the same set of rules that the author used to generate them” (Tompkins xvii). By accepting the author’s perspective and reading the text as he intended, the woman reader is forced to disregard her own, female perspective. This, in turn, leads to a concept called “asymmetrical contingency,” described by Iser as that which occurs “when Partner A gives up trying to implement his own behavioral plan and without resistance follows that of Partner B. He adapts himself to and is absorbed by the behavioral strategy of B” (164). Using this argument, it becomes clear that a woman reader (Partner A) when faced with a text written by a man (Partner B) will most likely succumb to the perspective of the writer and she is thus forced to misread the text. Or, she could rebel against the text and raise an angry, feminist voice in protest.

James Thurber, in the eyes of most literary critics, is one of the foremost American humorists of the 20th century, and his short story “The Secret Life of Walter Mitty” is believed to have “ushered in a major [literary] period … where the individual can maintain his self … an appropriate way of assaulting rigid forms” (Elias 432). The rigid form in Thurber’s story is Mrs. Mitty, the main character’s wife. She is portrayed by Walter Mitty as a horrible, mothering nag. As a way of escaping her constant griping, he imagines fantastic daydreams which carry him away from Mrs. Mitty’s voice. Yet she repeatedly interrupts his reveries and Mitty responds to her as though she is “grossly unfamiliar, like a strange woman who had yelled at him in the crowd” (286). Not only is his wife annoying to him, but she is also distant and removed from what he cares about, like a stranger. When she does speak to him, it seems reflective of the way a mother would speak to a child. For example, Mrs. Mitty asks, “‘Why don’t you wear your gloves? Have you lost your gloves?’ Walter Mitty reached in a pocket and brought out the gloves. He put them on, but after she had turned and gone into the building and he had driven on to a red light, he took them off again” (286). Mrs. Mitty’s care for her husband’s health is seen as nagging to Walter Mitty, and the audience is amused that he responds like a child and does the opposite of what Mrs. Mitty asked of him. Finally, the clearest way in which Mrs. Mitty is portrayed as a burdensome wife is at the end of the piece when Walter, waiting for his wife to exit the store, imagines that he is facing “the firing squad; erect and motionless, proud and disdainful, Walter Mitty the Undefeated, inscrutable to the last” (289). Not only is Mrs. Mitty portrayed as a mothering, bothersome hen, but she is ultimately described as that which will be the death of Walter Mitty.

Mrs. Mitty is a direct literary descendant of the first woman to be stereotyped as a nagging wife, Dame Van Winkle, the creation of the American writer, Washington Irving. Likewise, Walter Mitty is a reflection of his dreaming predecessor, Rip Van Winkle, who falls into a deep sleep for a hundred years and awakes to the relief of finding out that his nagging wife has died. Judith Fetterley explains in her book, The Resisting Reader, how such a portrayal of women forces a woman who reads “Rip Van Winkle” and other such stories “to find herself excluded from the experience of the story” so that she “cannot read the story without being assaulted by the negative images of women it presents” (10). The result, it seems, is for a woman reader of a story like “Rip Van Winkle” or “The Secret Life of Walter Mitty” to either be excluded from the text, or accept the negative images of women the story puts forth. As Fetterley points out, “The consequence for the female reader is a divided self. She is asked to identify with Rip and against herself, to scorn the amiable sex and act just like it, to laugh at Dame Van Winkle and accept that she represents ‘woman,’ to be at once both repressor and repressed, and ultimately to realize that she is neither” (11). Thus, a woman is forced to misread the text and accept “woman as villain.” as Fetterley names it, or rebel against both the story and its message.

So how does a woman reader respond to this portrayal of Mrs. Mitty? If she were to follow Iser’s claim, she would defer to the male point of view presented by the author. She would sympathize with Mitty, as Thurber wants us to do, and see domineering women in her own life that resemble Mrs. Mitty. She may see her mother and remember all the times that she nagged her about zipping up her coat against the bitter winter wind. Or the female reader might identify Mrs. Mitty with her controlling mother-in-law and chuckle at Mitty’s attempts to escape her control, just as her husband tries to escape the criticism and control of his own mother. Iser’s ideal female reader would undoubtedly look at her own position as mother and wife and would vow to never become such a domineering person. This reader would probably also agree with a critic who says that “Mitty has a wife who embodies the authority of a society in which the husband cannot function” (Lindner 440). She could see the faults in a relationship that is too controlled by a woman and recognize that a man needs to feel important and dominant in his relationship with his wife. It could be said that the female reader would agree completely with Thurber’s portrayal of the domineering wife. The female reader could simply misread the text.

Or, the female reader could rebel against the text. She could see Mrs. Mitty as a woman who is trying to do her best to keep her husband well and cared for. She could see Walter as a man with a fleeting grip on reality who daydreams that he is a fighter pilot, a brilliant surgeon, a gun expert, or a military hero, when he actually is a poor driver with a slow reaction time to a green traffic light. The female reader could read critics of Thurber who say that by allowing his wife to dominate him, Mitty becomes a “non-hero in a civilization in which women are winning the battle of the sexes” (Hasley 533) and become angry that a woman’s fight for equality is seen merely as a battle between the sexes. She could read Walter’s daydreams as his attempt to dominate his wife, since all of his fantasies center on him in traditional roles of power. This, for most women, would cause anger at Mitty (and indirectly Thurber) for creating and promoting a society which believes that women need to stay subservient to men. From a male point of view, it becomes a battle of the sexes. In a woman’s eyes, her reading is simply a struggle for equality within the text and in the world outside that the text reflects.

It is certain that women misread “The Secret Life of Walter Mitty.” I did. I found myself initially wishing that Mrs. Mitty would just let Walter daydream in peace. But after reading the story again and paying attention to the portrayal of Mrs. Mitty, I realized that it is imperative that women rebel against the texts that would oppress them. By misreading a text, the woman reader understands it in a way that is conventional and acceptable to the literary world. But in so doing, she is also distancing herself from the text, not fully embracing it or its meaning in her life. By rebelling against the text, the female reader not only has to understand the point of view of the author and the male audience, but she also has to formulate her own opinions and create a sort of dialogue between the text and herself. Rebelling against the text and the stereotypes encourages an active dialogue between the woman and the text which, in turn, guarantees an active and (most likely) angry reader response. I became a resisting reader.

Works Cited

Elias, Robert H. “James Thurber: The Primitive, the Innocent, and the Individual.” Contemporary Literary Criticism . Vol. 5. Ed. Dedria Bryfonski. Detroit: Gale Research, 1980. 431–32. Print.

Fetterley, Judith. The Resisting Reader . Bloomington: Indiana UP, 1978. Print.

Hasley, Louis. “James Thurber: Artist in Humor.” Contemporary Literary Criticism . Vol. 11. Ed. Dedria Bryfonski. Detroit: Gale Research, 1980. 532–34. Print.

Iser, Wolfgang. The Act of Reading: A Theory of Aesthetic Response . Baltimore: Johns Hopkins UP, 1981. Print.

Lindner, Carl M. “Thurber’s Walter Mitty—The Underground American Hero.” Contemporary Literary Criticism . Vol. 5. Ed. Dedria Bryfonski. Detroit: Gale Research, 1980. 440–41. Print.

Rosenblatt, Louise M. Literature as Exploration . New York: MLA, 1976. Print.

Thurber, James. “The Secret Life of Walter Mitty.” Literature: An Introduction to Critical Reading . Ed. William Vesterman. Fort Worth: Harcourt Brace, 1993. 286–89. Print.

Tompkins, Jane P. “An Introduction to Reader-Response Criticism.” Reader Response Criticism: From Formalism to Post-Structuralism . Ed. Jane P. Tompkins. Baltimore: Johns Hopkins UP, 1980. ix-xxvi. Print.

Contributors and Attributions

• Putting It Together: Defining Characteristics of Romantic Literature. Authored by : Anne Eidenmuller & Lumen Learning. License : CC BY: Attribution