literary essay conclusions

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How to Write a Conclusion to a Literary Essay

Last Updated: July 3, 2023 Fact Checked

This article was co-authored by Stephanie Wong Ken, MFA . Stephanie Wong Ken is a writer based in Canada. Stephanie's writing has appeared in Joyland, Catapult, Pithead Chapel, Cosmonaut's Avenue, and other publications. She holds an MFA in Fiction and Creative Writing from Portland State University. 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 79,275 times.

A literary essay should analyze and evaluate a work of literature or an aspect of a work of literature. You may be required to write a literary essay for Language Arts class or as an assignment for an English Literature course. After a lot of hard work, you may have the majority of your literary essay done and be stuck on the conclusion. A strong conclusion will restate the thesis statement and broaden the scope of the essay in four to six sentences. You should also have an effective last sentence in the essay so you can wrap it up on a high note.

Reworking Your Thesis Statement

• For example, maybe your original thesis statement was, “Though there are elements of tragedy in Shakespeare’s A Midsummer Night’s Dream , the structure, themes, and staging of the play fall into the genre of comedy.”
• You may then rephrase your thesis statement by shifting around some of the language in the original and by using a more precise word choice. For example, the rephrased thesis statement may be, “While there are tragic moments in Shakespeare’s A Midsummer Night’s Dream , the structure, themes, and staging of the play fit within the genre of comedy.”

• You may then revise it to better reflect your essay as a whole, “While tragic events do occur in Shakespeare’s A Midsummer Night’s Dream , the three-act structure, the themes of magic and dreams, as well as the farcical staging of the play indicate that it fits in the genre of comedy.”
• Keep in mind if you make major revisions to your thesis statement, it should only be done to reflect the rest of your essay as a whole. Make sure the original thesis statement in your introduction still compliments or reflects the revised thesis statement in your conclusion.

• You do not need to put “In conclusion,” “In summary,” or “To conclude” before your thesis statement to start the conclusion. This can feel too formal and stilted. Instead, start a new paragraph and launch right into your rephrased thesis statement at the beginning of the conclusion.

Writing the Middle Section of the Conclusion

• For example, you may have a sentence about how the staging of the play affects the genre of the play in your introduction. You could then rephrase this sentence and include it in your conclusion.
• If you read over your introduction and realize some of your ideas have shifted in your body paragraphs, you may need to revise your introduction and use the revisions to then write the middle section of the conclusion.

• For example, maybe you focus on the theme of magic in Shakespeare’s A Midsummer Night’s Dream in the body section of your essay. You can then reiterate the theme of magic by using an image from the play that illustrates the magical element of the text.

• For example, if your essay focuses on how the theme of love in Shakespeare’s A Midsummer Night’s Dream , you may include a quote from the text that illustrates this theme.

• For example, if you are writing an essay about Harper Lee's To Kill A Mockingbird , you may answer the question “so what?” by thinking about how and why Harper Lee's novel discusses issues of race and identity in the South. You could then use your response in the conclusion of the essay.

• For example, you may summarize your essay by noting, "An analysis of scenes between white characters and African-American characters in the novel, as done in this essay, make it clear that Lee is addressing questions of race and identity in the South head-on."

Wrapping Up the Conclusion

• For example, if the focus of your essay is the theme of magic in the text, you may end with an image for the text that includes a magical element that is important to the main character.

• Read over your last sentence and remove any words that seem unnecessary or confusing. Simplify the last sentence of your conclusion so it is concise and to the point.

• For example, you may connect an essay about Harper Lee's To Kill A Mockingbird to modern issues around African-American rights in America.
• Avoid making overblown statements in the conclusion in an attempt to sum up your thoughts. Connecting your essay to a larger context is fine. Trying to connect your essay to vague ideas like “world suffering” or “the wage gap” will only confuse your reader and weaken your conclusion.

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• ↑ https://human.libretexts.org/Bookshelves/Literature_and_Literacy/Writing_and_Critical_Thinking_Through_Literature_(Ringo_and_Kashyap)/12%3A_Writing_About_Literature/12.06%3A_Literary_Thesis_Statements
• ↑ https://writingcenter.unc.edu/tips-and-tools/thesis-statements/
• ↑ https://writingcenter.unc.edu/tips-and-tools/conclusions/
• ↑ https://libguides.usc.edu/writingguide/academicwriting
• ↑ https://lsa.umich.edu/sweetland/undergraduates/writing-guides/how-do-i-write-an-intro--conclusion----body-paragraph.html
• ↑ https://academicguides.waldenu.edu/writingcenter/writingprocess/conclusions
• ↑ https://libguides.usc.edu/writingguide/conclusion
• ↑ https://writingcenter.fas.harvard.edu/pages/ending-essay-conclusions
• ↑ https://www.unr.edu/writing-speaking-center/student-resources/writing-speaking-resources/editing-and-proofreading-techniques

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How to Write a Conclusion for a Literary Analysis Essay

Matt rauscher, 27 jun 2018.

Whether you are writing about a novel, short story, poem or play, the conclusion to your literary analysis essay needs to connect your thesis statement to the end of your essay. Summarizing your points is necessary, but the conclusion needs to synthesize all the different elements of the work you analyzed. Conclusions illustrate the significance of your essay in light of the question you have asked and demonstrate that you have successfully defended your literary argument.

Explore this article

• Restate the Thesis
• Synthesize Your Details
• Look Forward
• Stay Positive

1 Restate the Thesis

A conclusion in a literature paper should begin with a reiteration of your thesis statement, which is your main argument. Inform the reader how you managed to demonstrate your view. If, for example, you are writing about Harper Lee's "To Kill A Mockingbird," your thesis may have been that the main character, Scout, has experiences throughout the novel that give her a more mature point of view by book's end. Summarize for the reader how you examined textual evidence to come to that conclusion, which is realized in your thesis statement and then restated in different language in the conclusion.

2 Synthesize Your Details

Each body paragraph in your essay should have broken down your thesis into subsections that you applied to the narrative, poem or play that you are writing about. The conclusion is where you synthesize the support you developed in the essay and form it into a cohesive statement that demonstrates how well you defended your argument. If Scout in "To Kill A Mockingbird" matured greatly throughout the novel, the conclusion reminds the reader of the way you analyzed the book's events, other critiques and theories throughout each paragraph of your essay.

3 Look Forward

Conclusions should not give a definitive answer to the question your thesis asks. Literary analysis does not stop at one particular point in time, and essays like yours keep a work of literature moving forward. A good conclusion will ask what needs to be done to solve the problem you have identified. If "To Kill A Mockingbird" centers on blatant racial problems with the criminal justice system, you could discuss aspects of that small town controversy that still exist today. Do not introduce completely new ideas, but draw from your thesis statement and connect it to a sense of duty that you have hopefully instilled in your readers.

4 Stay Positive

The tone of the conclusion should be positive and achieve a feeling of completion. You can use other literary techniques, like simile or metaphor, and you can refer to on-point contemporary issues or ideas. Advanced students may refer to aspects of literary theory if you are knowledgeable about it. Overall, if you have a well-defended argument throughout the paper, the conclusion should be as strong as the rest of the essay.

• 1 Royal Literary Fund: Conclusions
• 2 Syracuse City Schools: Sample Concluding Paragraph
• 3 The Writing Center at UNC Chapel Hill: Conclusions

About the Author

Matt Rauscher has been writing professionally since 1996, recently serving as a contributing writer/film critic for "Instinct Magazine." He is also a novelist and co-author of a Chicago city guidebook. In 1997, Rauscher graduated from the University of Illinois with a B.A. in rhetoric.

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12.14: Sample Student Literary Analysis Essays

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• Page ID 40514

• Heather Ringo & Athena Kashyap
• City College of San Francisco via ASCCC Open Educational Resources Initiative

The following examples are essays where student writers focused on close-reading a literary work.

While reading these examples, ask yourself the following questions:

• What is the essay's thesis statement, and how do you know it is the thesis statement?
• What is the main idea or topic sentence of each body paragraph, and how does it relate back to the thesis statement?
• Where and how does each essay use evidence (quotes or paraphrase from the literature)?
• What are some of the literary devices or structures the essays analyze or discuss?
• How does each author structure their conclusion, and how does their conclusion differ from their introduction?

Example 1: Poetry

Victoria Morillo

Instructor Heather Ringo

3 August 2022

How Nguyen’s Structure Solidifies the Impact of Sexual Violence in “The Study”

Stripped of innocence, your body taken from you. No matter how much you try to block out the instance in which these two things occurred, memories surface and come back to haunt you. How does a person, a young boy , cope with an event that forever changes his life? Hieu Minh Nguyen deconstructs this very way in which an act of sexual violence affects a survivor. In his poem, “The Study,” the poem's speaker recounts the year in which his molestation took place, describing how his memory filters in and out. Throughout the poem, Nguyen writes in free verse, permitting a structural liberation to become the foundation for his message to shine through. While he moves the readers with this poignant narrative, Nguyen effectively conveys the resulting internal struggles of feeling alone and unseen.

The speaker recalls his experience with such painful memory through the use of specific punctuation choices. Just by looking at the poem, we see that the first period doesn’t appear until line 14. It finally comes after the speaker reveals to his readers the possible, central purpose for writing this poem: the speaker's molestation. In the first half, the poem makes use of commas, em dashes, and colons, which lends itself to the idea of the speaker stringing along all of these details to make sense of this time in his life. If reading the poem following the conventions of punctuation, a sense of urgency is present here, as well. This is exemplified by the lack of periods to finalize a thought; and instead, Nguyen uses other punctuation marks to connect them. Serving as another connector of thoughts, the two em dashes give emphasis to the role memory plays when the speaker discusses how “no one [had] a face” during that time (Nguyen 9-11). He speaks in this urgent manner until the 14th line, and when he finally gets it off his chest, the pace of the poem changes, as does the more frequent use of the period. This stream-of-consciousness-like section when juxtaposed with the latter half of the poem, causes readers to slow down and pay attention to the details. It also splits the poem in two: a section that talks of the fogginess of memory then transitions into one that remembers it all.

In tandem with the fluctuating nature of memory, the utilization of line breaks and word choice help reflect the damage the molestation has had. Within the first couple of lines of the poem, the poem demands the readers’ attention when the line breaks from “floating” to “dead” as the speaker describes his memory of Little Billy (Nguyen 1-4). This line break averts the readers’ expectation of the direction of the narrative and immediately shifts the tone of the poem. The break also speaks to the effect his trauma has ingrained in him and how “[f]or the longest time,” his only memory of that year revolves around an image of a boy’s death. In a way, the speaker sees himself in Little Billy; or perhaps, he’s representative of the tragic death of his boyhood, how the speaker felt so “dead” after enduring such a traumatic experience, even referring to himself as a “ghost” that he tries to evict from his conscience (Nguyen 24). The feeling that a part of him has died is solidified at the very end of the poem when the speaker describes himself as a nine-year-old boy who’s been “fossilized,” forever changed by this act (Nguyen 29). By choosing words associated with permanence and death, the speaker tries to recreate the atmosphere (for which he felt trapped in) in order for readers to understand the loneliness that came as a result of his trauma. With the assistance of line breaks, more attention is drawn to the speaker's words, intensifying their importance, and demanding to be felt by the readers.

Most importantly, the speaker expresses eloquently, and so heartbreakingly, about the effect sexual violence has on a person. Perhaps what seems to be the most frustrating are the people who fail to believe survivors of these types of crimes. This is evident when he describes “how angry” the tenants were when they filled the pool with cement (Nguyen 4). They seem to represent how people in the speaker's life were dismissive of his assault and who viewed his tragedy as a nuisance of some sorts. This sentiment is bookended when he says, “They say, give us details , so I give them my body. / They say, give us proof , so I give them my body,” (Nguyen 25-26). The repetition of these two lines reinforces the feeling many feel in these scenarios, as they’re often left to deal with trying to make people believe them, or to even see them.

It’s important to recognize how the structure of this poem gives the speaker space to express the pain he’s had to carry for so long. As a characteristic of free verse, the poem doesn’t follow any structured rhyme scheme or meter; which in turn, allows him to not have any constraints in telling his story the way he wants to. The speaker has the freedom to display his experience in a way that evades predictability and engenders authenticity of a story very personal to him. As readers, we abandon anticipating the next rhyme, and instead focus our attention to the other ways, like his punctuation or word choice, in which he effectively tells his story. The speaker recognizes that some part of him no longer belongs to himself, but by writing “The Study,” he shows other survivors that they’re not alone and encourages hope that eventually, they will be freed from the shackles of sexual violence.

Works Cited

Nguyen, Hieu Minh. “The Study” Poets.Org. Academy of American Poets, Coffee House Press, 2018, https://poets.org/poem/study-0 .

Example 2: Fiction

Todd Goodwin

Professor Stan Matyshak

Advanced Expository Writing

Sept. 17, 20—

Poe’s “Usher”: A Mirror of the Fall of the House of Humanity

Right from the outset of the grim story, “The Fall of the House of Usher,” Edgar Allan Poe enmeshes us in a dark, gloomy, hopeless world, alienating his characters and the reader from any sort of physical or psychological norm where such values as hope and happiness could possibly exist. He fatalistically tells the story of how a man (the narrator) comes from the outside world of hope, religion, and everyday society and tries to bring some kind of redeeming happiness to his boyhood friend, Roderick Usher, who not only has physically and psychologically wasted away but is entrapped in a dilapidated house of ever-looming terror with an emaciated and deranged twin sister. Roderick Usher embodies the wasting away of what once was vibrant and alive, and his house of “insufferable gloom” (273), which contains his morbid sister, seems to mirror or reflect this fear of death and annihilation that he most horribly endures. A close reading of the story reveals that Poe uses mirror images, or reflections, to contribute to the fatalistic theme of “Usher”: each reflection serves to intensify an already prevalent tone of hopelessness, darkness, and fatalism.

It could be argued that the house of Roderick Usher is a “house of mirrors,” whose unpleasant and grim reflections create a dark and hopeless setting. For example, the narrator first approaches “the melancholy house of Usher on a dark and soundless day,” and finds a building which causes him a “sense of insufferable gloom,” which “pervades his spirit and causes an iciness, a sinking, a sickening of the heart, an undiscerned dreariness of thought” (273). The narrator then optimistically states: “I reflected that a mere different arrangement of the scene, of the details of the picture, would be sufficient to modify, or perhaps annihilate its capacity for sorrowful impression” (274). But the narrator then sees the reflection of the house in the tarn and experiences a “shudder even more thrilling than before” (274). Thus the reader begins to realize that the narrator cannot change or stop the impending doom that will befall the house of Usher, and maybe humanity. The story cleverly plays with the word reflection : the narrator sees a physical reflection that leads him to a mental reflection about Usher’s surroundings.

The narrator’s disillusionment by such grim reflection continues in the story. For example, he describes Roderick Usher’s face as distinct with signs of old strength but lost vigor: the remains of what used to be. He describes the house as a once happy and vibrant place, which, like Roderick, lost its vitality. Also, the narrator describes Usher’s hair as growing wild on his rather obtrusive head, which directly mirrors the eerie moss and straw covering the outside of the house. The narrator continually longs to see these bleak reflections as a dream, for he states: “Shaking off from my spirit what must have been a dream, I scanned more narrowly the real aspect of the building” (276). He does not want to face the reality that Usher and his home are doomed to fall, regardless of what he does.

Although there are almost countless examples of these mirror images, two others stand out as important. First, Roderick and his sister, Madeline, are twins. The narrator aptly states just as he and Roderick are entombing Madeline that there is “a striking similitude between brother and sister” (288). Indeed, they are mirror images of each other. Madeline is fading away psychologically and physically, and Roderick is not too far behind! The reflection of “doom” that these two share helps intensify and symbolize the hopelessness of the entire situation; thus, they further develop the fatalistic theme. Second, in the climactic scene where Madeline has been mistakenly entombed alive, there is a pairing of images and sounds as the narrator tries to calm Roderick by reading him a romance story. Events in the story simultaneously unfold with events of the sister escaping her tomb. In the story, the hero breaks out of the coffin. Then, in the story, the dragon’s shriek as he is slain parallels Madeline’s shriek. Finally, the story tells of the clangor of a shield, matched by the sister’s clanging along a metal passageway. As the suspense reaches its climax, Roderick shrieks his last words to his “friend,” the narrator: “Madman! I tell you that she now stands without the door” (296).

Roderick, who slowly falls into insanity, ironically calls the narrator the “Madman.” We are left to reflect on what Poe means by this ironic twist. Poe’s bleak and dark imagery, and his use of mirror reflections, seem only to intensify the hopelessness of “Usher.” We can plausibly conclude that, indeed, the narrator is the “Madman,” for he comes from everyday society, which is a place where hope and faith exist. Poe would probably argue that such a place is opposite to the world of Usher because a world where death is inevitable could not possibly hold such positive values. Therefore, just as Roderick mirrors his sister, the reflection in the tarn mirrors the dilapidation of the house, and the story mirrors the final actions before the death of Usher. “The Fall of the House of Usher” reflects Poe’s view that humanity is hopelessly doomed.

Poe, Edgar Allan. “The Fall of the House of Usher.” 1839. Electronic Text Center, University of Virginia Library . 1995. Web. 1 July 2012. < http://etext.virginia.edu/toc/modeng/public/PoeFall.html >.

Example 3: Poetry

Amy Chisnell

Professor Laura Neary

Writing and Literature

April 17, 20—

Don’t Listen to the Egg!: A Close Reading of Lewis Carroll’s “Jabberwocky”

“You seem very clever at explaining words, Sir,” said Alice. “Would you kindly tell me the meaning of the poem called ‘Jabberwocky’?”

“Let’s hear it,” said Humpty Dumpty. “I can explain all the poems that ever were invented—and a good many that haven’t been invented just yet.” (Carroll 164)

In Lewis Carroll’s Through the Looking-Glass , Humpty Dumpty confidently translates (to a not so confident Alice) the complicated language of the poem “Jabberwocky.” The words of the poem, though nonsense, aptly tell the story of the slaying of the Jabberwock. Upon finding “Jabberwocky” on a table in the looking-glass room, Alice is confused by the strange words. She is quite certain that “ somebody killed something ,” but she does not understand much more than that. When later she encounters Humpty Dumpty, she seizes the opportunity at having the knowledgeable egg interpret—or translate—the poem. Since Humpty Dumpty professes to be able to “make a word work” for him, he is quick to agree. Thus he acts like a New Critic who interprets the poem by performing a close reading of it. Through Humpty’s interpretation of the first stanza, however, we see the poem’s deeper comment concerning the practice of interpreting poetry and literature in general—that strict analytical translation destroys the beauty of a poem. In fact, Humpty Dumpty commits the “heresy of paraphrase,” for he fails to understand that meaning cannot be separated from the form or structure of the literary work.

Of the 71 words found in “Jabberwocky,” 43 have no known meaning. They are simply nonsense. Yet through this nonsensical language, the poem manages not only to tell a story but also gives the reader a sense of setting and characterization. One feels, rather than concretely knows, that the setting is dark, wooded, and frightening. The characters, such as the Jubjub bird, the Bandersnatch, and the doomed Jabberwock, also appear in the reader’s head, even though they will not be found in the local zoo. Even though most of the words are not real, the reader is able to understand what goes on because he or she is given free license to imagine what the words denote and connote. Simply, the poem’s nonsense words are the meaning.

Therefore, when Humpty interprets “Jabberwocky” for Alice, he is not doing her any favors, for he actually misreads the poem. Although the poem in its original is constructed from nonsense words, by the time Humpty is done interpreting it, it truly does not make any sense. The first stanza of the original poem is as follows:

’Twas brillig, and the slithy toves

Did gyre and gimble in the wabe;

All mimsy were the borogroves,

An the mome raths outgrabe. (Carroll 164)

If we replace, however, the nonsense words of “Jabberwocky” with Humpty’s translated words, the effect would be something like this:

’Twas four o’clock in the afternoon, and the lithe and slimy badger-lizard-corkscrew creatures

Did go round and round and make holes in the grass-plot round the sun-dial:

All flimsy and miserable were the shabby-looking birds

with mop feathers,

And the lost green pigs bellowed-sneezed-whistled.

By translating the poem in such a way, Humpty removes the charm or essence—and the beauty, grace, and rhythm—from the poem. The poetry is sacrificed for meaning. Humpty Dumpty commits the heresy of paraphrase. As Cleanth Brooks argues, “The structure of a poem resembles that of a ballet or musical composition. It is a pattern of resolutions and balances and harmonizations” (203). When the poem is left as nonsense, the reader can easily imagine what a “slithy tove” might be, but when Humpty tells us what it is, he takes that imaginative license away from the reader. The beauty (if that is the proper word) of “Jabberwocky” is in not knowing what the words mean, and yet understanding. By translating the poem, Humpty takes that privilege from the reader. In addition, Humpty fails to recognize that meaning cannot be separated from the structure itself: the nonsense poem reflects this literally—it means “nothing” and achieves this meaning by using “nonsense” words.

Furthermore, the nonsense words Carroll chooses to use in “Jabberwocky” have a magical effect upon the reader; the shadowy sound of the words create the atmosphere, which may be described as a trance-like mood. When Alice first reads the poem, she says it seems to fill her head “with ideas.” The strange-sounding words in the original poem do give one ideas. Why is this? Even though the reader has never heard these words before, he or she is instantly aware of the murky, mysterious mood they set. In other words, diction operates not on the denotative level (the dictionary meaning) but on the connotative level (the emotion(s) they evoke). Thus “Jabberwocky” creates a shadowy mood, and the nonsense words are instrumental in creating this mood. Carroll could not have simply used any nonsense words.

For example, let us change the “dark,” “ominous” words of the first stanza to “lighter,” more “comic” words:

’Twas mearly, and the churly pells

Did bimble and ringle in the tink;

All timpy were the brimbledimps,

And the bip plips outlink.

Shifting the sounds of the words from dark to light merely takes a shift in thought. To create a specific mood using nonsense words, one must create new words from old words that convey the desired mood. In “Jabberwocky,” Carroll mixes “slimy,” a grim idea, “lithe,” a pliable image, to get a new adjective: “slithy” (a portmanteau word). In this translation, brighter words were used to get a lighter effect. “Mearly” is a combination of “morning” and “early,” and “ringle” is a blend of “ring” and "dingle.” The point is that “Jabberwocky’s” nonsense words are created specifically to convey this shadowy or mysterious mood and are integral to the “meaning.”

Consequently, Humpty’s rendering of the poem leaves the reader with a completely different feeling than does the original poem, which provided us with a sense of ethereal mystery, of a dark and foreign land with exotic creatures and fantastic settings. The mysteriousness is destroyed by Humpty’s literal paraphrase of the creatures and the setting; by doing so, he has taken the beauty away from the poem in his attempt to understand it. He has committed the heresy of paraphrase: “If we allow ourselves to be misled by it [this heresy], we distort the relation of the poem to its ‘truth’… we split the poem between its ‘form’ and its ‘content’” (Brooks 201). Humpty Dumpty’s ultimate demise might be seen to symbolize the heretical split between form and content: as a literary creation, Humpty Dumpty is an egg, a well-wrought urn of nonsense. His fall from the wall cracks him and separates the contents from the container, and not even all the King’s men can put the scrambled egg back together again!

Through the odd characters of a little girl and a foolish egg, “Jabberwocky” suggests a bit of sage advice about reading poetry, advice that the New Critics built their theories on. The importance lies not solely within strict analytical translation or interpretation, but in the overall effect of the imagery and word choice that evokes a meaning inseparable from those literary devices. As Archibald MacLeish so aptly writes: “A poem should not mean / But be.” Sometimes it takes a little nonsense to show us the sense in something.

Brooks, Cleanth. The Well-Wrought Urn: Studies in the Structure of Poetry . 1942. San Diego: Harcourt Brace, 1956. Print.

Carroll, Lewis. Through the Looking-Glass. Alice in Wonderland . 2nd ed. Ed. Donald J. Gray. New York: Norton, 1992. Print.

MacLeish, Archibald. “Ars Poetica.” The Oxford Book of American Poetry . Ed. David Lehman. Oxford: Oxford UP, 2006. 385–86. Print.

Attribution

• Sample Essay 1 received permission from Victoria Morillo to publish, licensed Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International ( CC BY-NC-SA 4.0 )
• Sample Essays 2 and 3 adapted from Cordell, Ryan and John Pennington. "2.5: Student Sample Papers" from Creating Literary Analysis. 2012. Licensed Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported ( CC BY-NC-SA 3.0 )

Conclusions

What this handout is about.

This handout will explain the functions of conclusions, offer strategies for writing effective ones, help you evaluate conclusions you’ve drafted, and suggest approaches to avoid.

About conclusions

Introductions and conclusions can be difficult to write, but they’re worth investing time in. They can have a significant influence on a reader’s experience of your paper.

Just as your introduction acts as a bridge that transports your readers from their own lives into the “place” of your analysis, your conclusion can provide a bridge to help your readers make the transition back to their daily lives. Such a conclusion will help them see why all your analysis and information should matter to them after they put the paper down.

Your conclusion is your chance to have the last word on the subject. The conclusion allows you to have the final say on the issues you have raised in your paper, to synthesize your thoughts, to demonstrate the importance of your ideas, and to propel your reader to a new view of the subject. It is also your opportunity to make a good final impression and to end on a positive note.

Your conclusion can go beyond the confines of the assignment. The conclusion pushes beyond the boundaries of the prompt and allows you to consider broader issues, make new connections, and elaborate on the significance of your findings.

Your conclusion should make your readers glad they read your paper. Your conclusion gives your reader something to take away that will help them see things differently or appreciate your topic in personally relevant ways. It can suggest broader implications that will not only interest your reader, but also enrich your reader’s life in some way. It is your gift to the reader.

Strategies for writing an effective conclusion

One or more of the following strategies may help you write an effective conclusion:

• Play the “So What” Game. If you’re stuck and feel like your conclusion isn’t saying anything new or interesting, ask a friend to read it with you. Whenever you make a statement from your conclusion, ask the friend to say, “So what?” or “Why should anybody care?” Then ponder that question and answer it. Here’s how it might go: You: Basically, I’m just saying that education was important to Douglass. Friend: So what? You: Well, it was important because it was a key to him feeling like a free and equal citizen. Friend: Why should anybody care? You: That’s important because plantation owners tried to keep slaves from being educated so that they could maintain control. When Douglass obtained an education, he undermined that control personally. You can also use this strategy on your own, asking yourself “So What?” as you develop your ideas or your draft.
• Return to the theme or themes in the introduction. This strategy brings the reader full circle. For example, if you begin by describing a scenario, you can end with the same scenario as proof that your essay is helpful in creating a new understanding. You may also refer to the introductory paragraph by using key words or parallel concepts and images that you also used in the introduction.
• Synthesize, don’t summarize. Include a brief summary of the paper’s main points, but don’t simply repeat things that were in your paper. Instead, show your reader how the points you made and the support and examples you used fit together. Pull it all together.
• Include a provocative insight or quotation from the research or reading you did for your paper.
• Propose a course of action, a solution to an issue, or questions for further study. This can redirect your reader’s thought process and help them to apply your info and ideas to their own life or to see the broader implications.
• Point to broader implications. For example, if your paper examines the Greensboro sit-ins or another event in the Civil Rights Movement, you could point out its impact on the Civil Rights Movement as a whole. A paper about the style of writer Virginia Woolf could point to her influence on other writers or on later feminists.

Strategies to avoid

• Beginning with an unnecessary, overused phrase such as “in conclusion,” “in summary,” or “in closing.” Although these phrases can work in speeches, they come across as wooden and trite in writing.
• Stating the thesis for the very first time in the conclusion.
• Introducing a new idea or subtopic in your conclusion.
• Ending with a rephrased thesis statement without any substantive changes.
• Making sentimental, emotional appeals that are out of character with the rest of an analytical paper.
• Including evidence (quotations, statistics, etc.) that should be in the body of the paper.

Four kinds of ineffective conclusions

• The “That’s My Story and I’m Sticking to It” Conclusion. This conclusion just restates the thesis and is usually painfully short. It does not push the ideas forward. People write this kind of conclusion when they can’t think of anything else to say. Example: In conclusion, Frederick Douglass was, as we have seen, a pioneer in American education, proving that education was a major force for social change with regard to slavery.
• The “Sherlock Holmes” Conclusion. Sometimes writers will state the thesis for the very first time in the conclusion. You might be tempted to use this strategy if you don’t want to give everything away too early in your paper. You may think it would be more dramatic to keep the reader in the dark until the end and then “wow” them with your main idea, as in a Sherlock Holmes mystery. The reader, however, does not expect a mystery, but an analytical discussion of your topic in an academic style, with the main argument (thesis) stated up front. Example: (After a paper that lists numerous incidents from the book but never says what these incidents reveal about Douglass and his views on education): So, as the evidence above demonstrates, Douglass saw education as a way to undermine the slaveholders’ power and also an important step toward freedom.
• The “America the Beautiful”/”I Am Woman”/”We Shall Overcome” Conclusion. This kind of conclusion usually draws on emotion to make its appeal, but while this emotion and even sentimentality may be very heartfelt, it is usually out of character with the rest of an analytical paper. A more sophisticated commentary, rather than emotional praise, would be a more fitting tribute to the topic. Example: Because of the efforts of fine Americans like Frederick Douglass, countless others have seen the shining beacon of light that is education. His example was a torch that lit the way for others. Frederick Douglass was truly an American hero.
• The “Grab Bag” Conclusion. This kind of conclusion includes extra information that the writer found or thought of but couldn’t integrate into the main paper. You may find it hard to leave out details that you discovered after hours of research and thought, but adding random facts and bits of evidence at the end of an otherwise-well-organized essay can just create confusion. Example: In addition to being an educational pioneer, Frederick Douglass provides an interesting case study for masculinity in the American South. He also offers historians an interesting glimpse into slave resistance when he confronts Covey, the overseer. His relationships with female relatives reveal the importance of family in the slave community.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Douglass, Frederick. 1995. Narrative of the Life of Frederick Douglass, an American Slave, Written by Himself. New York: Dover.

Hamilton College. n.d. “Conclusions.” Writing Center. Accessed June 14, 2019. https://www.hamilton.edu//academics/centers/writing/writing-resources/conclusions .

Holewa, Randa. 2004. “Strategies for Writing a Conclusion.” LEO: Literacy Education Online. Last updated February 19, 2004. https://leo.stcloudstate.edu/acadwrite/conclude.html.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

Make a Gift

In a short paper—even a research paper—you don’t need to provide an exhaustive summary as part of your conclusion. But you do need to make some kind of transition between your final body paragraph and your concluding paragraph. This may come in the form of a few sentences of summary. Or it may come in the form of a sentence that brings your readers back to your thesis or main idea and reminds your readers where you began and how far you have traveled.

So, for example, in a paper about the relationship between ADHD and rejection sensitivity, Vanessa Roser begins by introducing readers to the fact that researchers have studied the relationship between the two conditions and then provides her explanation of that relationship. Here’s her thesis: “While socialization may indeed be an important factor in RS, I argue that individuals with ADHD may also possess a neurological predisposition to RS that is exacerbated by the differing executive and emotional regulation characteristic of ADHD.”

In her final paragraph, Roser reminds us of where she started by echoing her thesis: “This literature demonstrates that, as with many other conditions, ADHD and RS share a delicately intertwined pattern of neurological similarities that is rooted in the innate biology of an individual’s mind, a connection that cannot be explained in full by the behavioral mediation hypothesis.”  

Highlight the “so what”  

At the beginning of your paper, you explain to your readers what’s at stake—why they should care about the argument you’re making. In your conclusion, you can bring readers back to those stakes by reminding them why your argument is important in the first place. You can also draft a few sentences that put those stakes into a new or broader context.

In the conclusion to her paper about ADHD and RS, Roser echoes the stakes she established in her introduction—that research into connections between ADHD and RS has led to contradictory results, raising questions about the “behavioral mediation hypothesis.”

She writes, “as with many other conditions, ADHD and RS share a delicately intertwined pattern of neurological similarities that is rooted in the innate biology of an individual’s mind, a connection that cannot be explained in full by the behavioral mediation hypothesis.”  

Leave your readers with the “now what”  

After the “what” and the “so what,” you should leave your reader with some final thoughts. If you have written a strong introduction, your readers will know why you have been arguing what you have been arguing—and why they should care. And if you’ve made a good case for your thesis, then your readers should be in a position to see things in a new way, understand new questions, or be ready for something that they weren’t ready for before they read your paper.

In her conclusion, Roser offers two “now what” statements. First, she explains that it is important to recognize that the flawed behavioral mediation hypothesis “seems to place a degree of fault on the individual. It implies that individuals with ADHD must have elicited such frequent or intense rejection by virtue of their inadequate social skills, erasing the possibility that they may simply possess a natural sensitivity to emotion.” She then highlights the broader implications for treatment of people with ADHD, noting that recognizing the actual connection between rejection sensitivity and ADHD “has profound implications for understanding how individuals with ADHD might best be treated in educational settings, by counselors, family, peers, or even society as a whole.”

To find your own “now what” for your essay’s conclusion, try asking yourself these questions:

• What can my readers now understand, see in a new light, or grapple with that they would not have understood in the same way before reading my paper? Are we a step closer to understanding a larger phenomenon or to understanding why what was at stake is so important?  
• What questions can I now raise that would not have made sense at the beginning of my paper? Questions for further research? Other ways that this topic could be approached?  
• Are there other applications for my research? Could my questions be asked about different data in a different context? Could I use my methods to answer a different question?  
• What action should be taken in light of this argument? What action do I predict will be taken or could lead to a solution?  
• What larger context might my argument be a part of?  

What to avoid in your conclusion  

• a complete restatement of all that you have said in your paper.  
• a substantial counterargument that you do not have space to refute; you should introduce counterarguments before your conclusion.  
• an apology for what you have not said. If you need to explain the scope of your paper, you should do this sooner—but don’t apologize for what you have not discussed in your paper.  
• fake transitions like “in conclusion” that are followed by sentences that aren’t actually conclusions. (“In conclusion, I have now demonstrated that my thesis is correct.”)
• picture_as_pdf Conclusions

Definition of Conclusion / A Concluding Paragraph in Essay

A conclusion is the last paragraph of an essay . It occurs after the body paragraphs have said what they have to say. It is comprised of three important elements:

• Rephrasing of the thesis statement
• Summary of main ideas
• Concluding Remarks

The first element, the rephrasing of the thesis statement , is to remind readers about the topic discussed in the essay. It usually breaks the thesis statement into three parts, and put it in two or three sentences.

The second element summarizes all of the main points of the essay. It usually contains three or more sentences. It could be that these main points are the same given in the thesis statement before it, repeating them for emphasis. However, mostly these main points are other than the ones given in the thesis statement.

The concluding remarks are the final remarks of the essay. These remarks could be a call to action, a suggestion, a recommendation, or a wakeup call. It could be a final question mark demanding further detailed response, or it could be an ending statement.

Difference Between a Body Paragraph and Conclusion

A body paragraph explains a claim made in its topic sentence . It then gives an example, and supporting details about the claim. However, a conclusion sums up the whole essay on a thoughtful response. Both have different elements and different structures.

Examples of Conclusion in Literature

Example #1:  free-speech follies (by stanley fish).

“Are there then no free-speech issues on campuses? Sure there are; there just aren’t very many. When Toni Smith, a basketball player at Manhattanville College, turned her back to the flag during the playing of the national anthem in protest against her government’s policies, she was truly exercising her First Amendment rights, rights that ensure that she cannot be compelled to an affirmation she does not endorse … And as she stood by her principles in the face of hostility, she truly was (and is) a First Amendment hero , as the college newspaper editors, the members of the Harvard English department, and the head of the Emma Goldman Project are not. The category is a real one, and it would be good if it were occupied only by those who belong in it.”

Stanley Fish has given a beautiful turn to this conclusion in his essay. He has stated what he believes by the end about the “category” but with a leniency with the word “if,” making it conditional. He has also stated major points of his essay in the middle of the conclusion after restatement of the thesis.

Example #2: In Praise of The Word “F” Word (by Mary Sherry)

“Flunking as a regular policy has just as much merit today as it did two generations ago. We must review the threat of flunking and see it as it really is—a positive teaching tool. It is an expression of confidence by both teachers and parents that the students have the ability to learn the material presented to them. However, making it work again would take a dedicated, caring conspiracy between teachers and parents. It would mean facing the tough reality that passing kids who haven’t learned the material—while it might save them grief for the short term—dooms them to long-term illiteracy. It would mean that teachers would have to follow through on their threats, and parents would have to stand behind them, knowing their children’s best interests are indeed at stake. This means no more doing Scott’s assignments for him because he might fail. No more passing Jodi because she’s such a nice kid. This is a policy that worked in the past and can work today. A wise teacher, with the support of his parents, gave our son the opportunity to succeed—or fail. It’s time we return this choice to all students.”

Just check the concluding remarks of this conclusion. After giving a lot of major points, Mary Sherry has given her verdict about how the time has come to let the students choose what they want to do in their lives.

Example #3: Common Decency (by Susan Jacoby)

“Fortunately for everyone, neither the character of men nor the general quality of relations between the sexes is that crude. By censuring the minority of men who use ordinary socializing as an excuse for rape, feminists insist on sex as a source of pure pleasure rather than as a means of social control. Real men want an eager sexual partner—not a woman who is quaking with fear or even one who is ambivalent. Real men don’t rape.”

This conclusion comprises a very short rephrase of the thesis statement, main points, and a very short concluding remark.

Function of Conclusion

A conclusion means an end. The conclusion intends to end an idea in a meaningful way, in that the readers should feel that they have reached some decision. It helps readers to decide what they want to do next. They either implement suggestions, make recommendations, or urge the reader to think about it more to find out a resolution of the problem.

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Literary analysis: sample essay.

We turn once more to Joanna Wolfe’s and Laura Wilder’s  Digging into Literature: Strategies for Reading, Writing, and Analysis  (Boston: Bedford/St. Martin’s, 2016) in order to show you their example of a strong student essay that has a strong central claim elucidated by multiple surface/depth arguments supported by patterns of evidence.

Paragraph 1

Sylvia Plath’s short poem “Morning Song” explores the conflicted emotions of a new mother. On the one hand, the mother recognizes that she is expected to treasure and celebrate her infant, but on the other hand, she feels strangely removed from the child. The poem uses a combination of scientific and natural imagery to illustrate the mother’s feelings of alienation. By the end of the poem, however, we see a shift in this imagery as the mother begins to see the infant in more human terms.

Paragraph 2

There are several references to scientific imagery in “Morning Song” that suggest that mother is viewing the baby in clinical, scientific terms rather than as a new life. The poem refers to magnification (4) and reflection (8), both of which are scientific methods. The word “distills” (8) refers to a scientific, chemical process for removing impurities from a substance. The baby’s cry is described as taking “its place among the elements” (3), which seems to refer to the periodic table of elements, the primordial matter of the universe. The watch in the first line is similarly a scientific tool and the gold the watch is made of is, of course, an element, like the baby’s cry. Even the balloons in the last line have a scientific connotation since balloons are often used for measurements and experiments in science. These images all serve to show how the speaker feels distanced from the baby, who is like a scientific experiment she is conducting rather than a human being.

Paragraph 3

Natural imagery also seems to further dehumanize the baby, reducing it to nothing more than its mouth. The baby’s breathing is compared to a moth in line 10, suggesting that the speaker feels the infant is fragile and is as likely to die as a moth dancing around candlelight. A few lines later, the baby’s mouth is compared to another animal—a cat—who greedily opens its mouth for milk. Not only does the speaker seem to feel that the baby is like an animal, but she herself is turned into an animal, as she arises “cow-heavy” (13) to feed the infant. These images show how the speaker sees both the baby and herself as dumb animals who exist only to feed and be fed. Even the morning itself seems to be reduced to another mouth to feed as she describes how the dawn “swallows its dull stars” (16). These lines suggest that just as the sun swallows up the stars, so the baby will swallow up this mother.

Paragraph 4

However, in the last few lines the poem takes a hopeful turn as the speaker begins to view the baby as a human being. The baby’s mouth, which has previously been greedy and animal-like, now becomes a source of music, producing a “handful of notes” (17) and “clear vowels” (18). Music is a distinctly human sound. No animals and certainly not the cats, cows, or moths mentioned earlier in the poem, make music. This change in how the speaker perceives the baby’s sounds—from animalistic cry to human song—suggest that she is beginning to relate the baby as an individual. Even the word “handful” in the phrase “handful of notes” (17) seems hopeful in this context since this is the first time the mother has referred to the baby as having a distinctly human body part. When the baby’s notes finally “rise like balloons” (18), the speaker seems to have arrived at a place where she can celebrate the infant. For the first time, the infant is giving something to the speaker rather than threatening to take something away. The mother seems to have finally accepted the child as an independent human being whose company she can celebrate.

Works Cited

beginner's guide to literary analysis

Understanding literature & how to write literary analysis.

Literary analysis is the foundation of every college and high school English class. Once you can comprehend written work and respond to it, the next step is to learn how to think critically and complexly about a work of literature in order to analyze its elements and establish ideas about its meaning.

If that sounds daunting, it shouldn’t. Literary analysis is really just a way of thinking creatively about what you read. The practice takes you beyond the storyline and into the motives behind it. 

While an author might have had a specific intention when they wrote their book, there’s still no right or wrong way to analyze a literary text—just your way. You can use literary theories, which act as “lenses” through which you can view a text. Or you can use your own creativity and critical thinking to identify a literary device or pattern in a text and weave that insight into your own argument about the text’s underlying meaning. 

Now, if that sounds fun, it should , because it is. Here, we’ll lay the groundwork for performing literary analysis, including when writing analytical essays, to help you read books like a critic. 

What Is Literary Analysis?

As the name suggests, literary analysis is an analysis of a work, whether that’s a novel, play, short story, or poem. Any analysis requires breaking the content into its component parts and then examining how those parts operate independently and as a whole. In literary analysis, those parts can be different devices and elements—such as plot, setting, themes, symbols, etcetera—as well as elements of style, like point of view or tone. 

When performing analysis, you consider some of these different elements of the text and then form an argument for why the author chose to use them. You can do so while reading and during class discussion, but it’s particularly important when writing essays. 

Literary analysis is notably distinct from summary. When you write a summary , you efficiently describe the work’s main ideas or plot points in order to establish an overview of the work. While you might use elements of summary when writing analysis, you should do so minimally. You can reference a plot line to make a point, but it should be done so quickly so you can focus on why that plot line matters . In summary (see what we did there?), a summary focuses on the “ what ” of a text, while analysis turns attention to the “ how ” and “ why .”

While literary analysis can be broad, covering themes across an entire work, it can also be very specific, and sometimes the best analysis is just that. Literary critics have written thousands of words about the meaning of an author’s single word choice; while you might not want to be quite that particular, there’s a lot to be said for digging deep in literary analysis, rather than wide. 

Although you’re forming your own argument about the work, it’s not your opinion . You should avoid passing judgment on the piece and instead objectively consider what the author intended, how they went about executing it, and whether or not they were successful in doing so. Literary criticism is similar to literary analysis, but it is different in that it does pass judgement on the work. Criticism can also consider literature more broadly, without focusing on a singular work. 

Once you understand what constitutes (and doesn’t constitute) literary analysis, it’s easy to identify it. Here are some examples of literary analysis and its oft-confused counterparts: 

Summary: In “The Fall of the House of Usher,” the narrator visits his friend Roderick Usher and witnesses his sister escape a horrible fate.  

Opinion: In “The Fall of the House of Usher,” Poe uses his great Gothic writing to establish a sense of spookiness that is enjoyable to read. 

Literary Analysis: “Throughout ‘The Fall of the House of Usher,’ Poe foreshadows the fate of Madeline by creating a sense of claustrophobia for the reader through symbols, such as in the narrator’s inability to leave and the labyrinthine nature of the house. 

In summary, literary analysis is:

• Breaking a work into its components
• Identifying what those components are and how they work in the text
• Developing an understanding of how they work together to achieve a goal 
• Not an opinion, but subjective 
• Not a summary, though summary can be used in passing 
• Best when it deeply, rather than broadly, analyzes a literary element

Literary Analysis and Other Works

As discussed above, literary analysis is often performed upon a single work—but it doesn’t have to be. It can also be performed across works to consider the interplay of two or more texts. Regardless of whether or not the works were written about the same thing, or even within the same time period, they can have an influence on one another or a connection that’s worth exploring. And reading two or more texts side by side can help you to develop insights through comparison and contrast.

For example, Paradise Lost is an epic poem written in the 17th century, based largely on biblical narratives written some 700 years before and which later influenced 19th century poet John Keats. The interplay of works can be obvious, as here, or entirely the inspiration of the analyst. As an example of the latter, you could compare and contrast the writing styles of Ralph Waldo Emerson and Edgar Allan Poe who, while contemporaries in terms of time, were vastly different in their content. 

Additionally, literary analysis can be performed between a work and its context. Authors are often speaking to the larger context of their times, be that social, political, religious, economic, or artistic. A valid and interesting form is to compare the author’s context to the work, which is done by identifying and analyzing elements that are used to make an argument about the writer’s time or experience. 

For example, you could write an essay about how Hemingway’s struggles with mental health and paranoia influenced his later work, or how his involvement in the Spanish Civil War influenced his early work. One approach focuses more on his personal experience, while the other turns to the context of his times—both are valid. 

Why Does Literary Analysis Matter? 

Sometimes an author wrote a work of literature strictly for entertainment’s sake, but more often than not, they meant something more. Whether that was a missive on world peace, commentary about femininity, or an allusion to their experience as an only child, the author probably wrote their work for a reason, and understanding that reason—or the many reasons—can actually make reading a lot more meaningful. 

Performing literary analysis as a form of study unquestionably makes you a better reader. It’s also likely that it will improve other skills, too, like critical thinking, creativity, debate, and reasoning. 

At its grandest and most idealistic, literary analysis even has the ability to make the world a better place. By reading and analyzing works of literature, you are able to more fully comprehend the perspectives of others. Cumulatively, you’ll broaden your own perspectives and contribute more effectively to the things that matter to you. 

Literary Terms to Know for Literary Analysis 

There are hundreds of literary devices you could consider during your literary analysis, but there are some key tools most writers utilize to achieve their purpose—and therefore you need to know in order to understand that purpose. These common devices include: 

• Characters: The people (or entities) who play roles in the work. The protagonist is the main character in the work. 
• Conflict: The conflict is the driving force behind the plot, the event that causes action in the narrative, usually on the part of the protagonist
• Context : The broader circumstances surrounding the work political and social climate in which it was written or the experience of the author. It can also refer to internal context, and the details presented by the narrator 
• Diction : The word choice used by the narrator or characters 
• Genre: A category of literature characterized by agreed upon similarities in the works, such as subject matter and tone
• Imagery : The descriptive or figurative language used to paint a picture in the reader’s mind so they can picture the story’s plot, characters, and setting 
• Metaphor: A figure of speech that uses comparison between two unlike objects for dramatic or poetic effect
• Narrator: The person who tells the story. Sometimes they are a character within the story, but sometimes they are omniscient and removed from the plot. 
• Plot : The storyline of the work
• Point of view: The perspective taken by the narrator, which skews the perspective of the reader 
• Setting : The time and place in which the story takes place. This can include elements like the time period, weather, time of year or day, and social or economic conditions 
• Symbol : An object, person, or place that represents an abstract idea that is greater than its literal meaning 
• Syntax : The structure of a sentence, either narration or dialogue, and the tone it implies
• Theme : A recurring subject or message within the work, often commentary on larger societal or cultural ideas
• Tone : The feeling, attitude, or mood the text presents

How to Perform Literary Analysis

Step 1: read the text thoroughly.

Literary analysis begins with the literature itself, which means performing a close reading of the text. As you read, you should focus on the work. That means putting away distractions (sorry, smartphone) and dedicating a period of time to the task at hand. 

It’s also important that you don’t skim or speed read. While those are helpful skills, they don’t apply to literary analysis—or at least not this stage. 

Step 2: Take Notes as You Read  

As you read the work, take notes about different literary elements and devices that stand out to you. Whether you highlight or underline in text, use sticky note tabs to mark pages and passages, or handwrite your thoughts in a notebook, you should capture your thoughts and the parts of the text to which they correspond. This—the act of noticing things about a literary work—is literary analysis. 

Step 3: Notice Patterns 

As you read the work, you’ll begin to notice patterns in the way the author deploys language, themes, and symbols to build their plot and characters. As you read and these patterns take shape, begin to consider what they could mean and how they might fit together. 

As you identify these patterns, as well as other elements that catch your interest, be sure to record them in your notes or text. Some examples include: 

• Circle or underline words or terms that you notice the author uses frequently, whether those are nouns (like “eyes” or “road”) or adjectives (like “yellow” or “lush”).
• Highlight phrases that give you the same kind of feeling. For example, if the narrator describes an “overcast sky,” a “dreary morning,” and a “dark, quiet room,” the words aren’t the same, but the feeling they impart and setting they develop are similar. 
• Underline quotes or prose that define a character’s personality or their role in the text.
• Use sticky tabs to color code different elements of the text, such as specific settings or a shift in the point of view. 

By noting these patterns, comprehensive symbols, metaphors, and ideas will begin to come into focus.  

Step 4: Consider the Work as a Whole, and Ask Questions

This is a step that you can do either as you read, or after you finish the text. The point is to begin to identify the aspects of the work that most interest you, and you could therefore analyze in writing or discussion. 

Questions you could ask yourself include: 

• What aspects of the text do I not understand?
• What parts of the narrative or writing struck me most?
• What patterns did I notice?
• What did the author accomplish really well?
• What did I find lacking?
• Did I notice any contradictions or anything that felt out of place?  
• What was the purpose of the minor characters?
• What tone did the author choose, and why? 

The answers to these and more questions will lead you to your arguments about the text. 

Step 5: Return to Your Notes and the Text for Evidence

As you identify the argument you want to make (especially if you’re preparing for an essay), return to your notes to see if you already have supporting evidence for your argument. That’s why it’s so important to take notes or mark passages as you read—you’ll thank yourself later!

If you’re preparing to write an essay, you’ll use these passages and ideas to bolster your argument—aka, your thesis. There will likely be multiple different passages you can use to strengthen multiple different aspects of your argument. Just be sure to cite the text correctly! 

If you’re preparing for class, your notes will also be invaluable. When your teacher or professor leads the conversation in the direction of your ideas or arguments, you’ll be able to not only proffer that idea but back it up with textual evidence. That’s an A+ in class participation. 

Step 6: Connect These Ideas Across the Narrative

Whether you’re in class or writing an essay, literary analysis isn’t complete until you’ve considered the way these ideas interact and contribute to the work as a whole. You can find and present evidence, but you still have to explain how those elements work together and make up your argument. 

How to Write a Literary Analysis Essay

When conducting literary analysis while reading a text or discussing it in class, you can pivot easily from one argument to another (or even switch sides if a classmate or teacher makes a compelling enough argument). 

But when writing literary analysis, your objective is to propose a specific, arguable thesis and convincingly defend it. In order to do so, you need to fortify your argument with evidence from the text (and perhaps secondary sources) and an authoritative tone. 

A successful literary analysis essay depends equally on a thoughtful thesis, supportive analysis, and presenting these elements masterfully. We’ll review how to accomplish these objectives below. 

Step 1: Read the Text. Maybe Read It Again. 

Constructing an astute analytical essay requires a thorough knowledge of the text. As you read, be sure to note any passages, quotes, or ideas that stand out. These could serve as the future foundation of your thesis statement. Noting these sections now will help you when you need to gather evidence. 

The more familiar you become with the text, the better (and easier!) your essay will be. Familiarity with the text allows you to speak (or in this case, write) to it confidently. If you only skim the book, your lack of rich understanding will be evident in your essay. Alternatively, if you read the text closely—especially if you read it more than once, or at least carefully revisit important passages—your own writing will be filled with insight that goes beyond a basic understanding of the storyline. 

Step 2: Brainstorm Potential Topics 

Because you took detailed notes while reading the text, you should have a list of potential topics at the ready. Take time to review your notes, highlighting any ideas or questions you had that feel interesting. You should also return to the text and look for any passages that stand out to you. 

When considering potential topics, you should prioritize ideas that you find interesting. It won’t only make the whole process of writing an essay more fun, your enthusiasm for the topic will probably improve the quality of your argument, and maybe even your writing. Just like it’s obvious when a topic interests you in a conversation, it’s obvious when a topic interests the writer of an essay (and even more obvious when it doesn’t). 

Your topic ideas should also be specific, unique, and arguable. A good way to think of topics is that they’re the answer to fairly specific questions. As you begin to brainstorm, first think of questions you have about the text. Questions might focus on the plot, such as: Why did the author choose to deviate from the projected storyline? Or why did a character’s role in the narrative shift? Questions might also consider the use of a literary device, such as: Why does the narrator frequently repeat a phrase or comment on a symbol? Or why did the author choose to switch points of view each chapter? 

Once you have a thesis question , you can begin brainstorming answers—aka, potential thesis statements . At this point, your answers can be fairly broad. Once you land on a question-statement combination that feels right, you’ll then look for evidence in the text that supports your answer (and helps you define and narrow your thesis statement). 

For example, after reading “ The Fall of the House of Usher ,” you might be wondering, Why are Roderick and Madeline twins?, Or even: Why does their relationship feel so creepy?” Maybe you noticed (and noted) that the narrator was surprised to find out they were twins, or perhaps you found that the narrator’s tone tended to shift and become more anxious when discussing the interactions of the twins.

Once you come up with your thesis question, you can identify a broad answer, which will become the basis for your thesis statement. In response to the questions above, your answer might be, “Poe emphasizes the close relationship of Roderick and Madeline to foreshadow that their deaths will be close, too.” 

Step 3: Gather Evidence 

Once you have your topic (or you’ve narrowed it down to two or three), return to the text (yes, again) to see what evidence you can find to support it. If you’re thinking of writing about the relationship between Roderick and Madeline in “The Fall of the House of Usher,” look for instances where they engaged in the text. 

This is when your knowledge of literary devices comes in clutch. Carefully study the language around each event in the text that might be relevant to your topic. How does Poe’s diction or syntax change during the interactions of the siblings? How does the setting reflect or contribute to their relationship? What imagery or symbols appear when Roderick and Madeline are together? 

By finding and studying evidence within the text, you’ll strengthen your topic argument—or, just as valuably, discount the topics that aren’t strong enough for analysis. 

Step 4: Consider Secondary Sources 

In addition to returning to the literary work you’re studying for evidence, you can also consider secondary sources that reference or speak to the work. These can be articles from journals you find on JSTOR, books that consider the work or its context, or articles your teacher shared in class. 

While you can use these secondary sources to further support your idea, you should not overuse them. Make sure your topic remains entirely differentiated from that presented in the source. 

Step 5: Write a Working Thesis Statement

Once you’ve gathered evidence and narrowed down your topic, you’re ready to refine that topic into a thesis statement. As you continue to outline and write your paper, this thesis statement will likely change slightly, but this initial draft will serve as the foundation of your essay. It’s like your north star: Everything you write in your essay is leading you back to your thesis. 

Writing a great thesis statement requires some real finesse. A successful thesis statement is: 

• Debatable : You shouldn’t simply summarize or make an obvious statement about the work. Instead, your thesis statement should take a stand on an issue or make a claim that is open to argument. You’ll spend your essay debating—and proving—your argument. 
• Demonstrable : You need to be able to prove, through evidence, that your thesis statement is true. That means you have to have passages from the text and correlative analysis ready to convince the reader that you’re right. 
• Specific : In most cases, successfully addressing a theme that encompasses a work in its entirety would require a book-length essay. Instead, identify a thesis statement that addresses specific elements of the work, such as a relationship between characters, a repeating symbol, a key setting, or even something really specific like the speaking style of a character. 

Example: By depicting the relationship between Roderick and Madeline to be stifling and almost otherworldly in its closeness, Poe foreshadows both Madeline’s fate and Roderick’s inability to choose a different fate for himself. 

Step 6: Write an Outline 

You have your thesis, you have your evidence—but how do you put them together? A great thesis statement (and therefore a great essay) will have multiple arguments supporting it, presenting different kinds of evidence that all contribute to the singular, main idea presented in your thesis. 

Review your evidence and identify these different arguments, then organize the evidence into categories based on the argument they support. These ideas and evidence will become the body paragraphs of your essay. 

For example, if you were writing about Roderick and Madeline as in the example above, you would pull evidence from the text, such as the narrator’s realization of their relationship as twins; examples where the narrator’s tone of voice shifts when discussing their relationship; imagery, like the sounds Roderick hears as Madeline tries to escape; and Poe’s tendency to use doubles and twins in his other writings to create the same spooky effect. All of these are separate strains of the same argument, and can be clearly organized into sections of an outline. 

Step 7: Write Your Introduction

Your introduction serves a few very important purposes that essentially set the scene for the reader: 

• Establish context. Sure, your reader has probably read the work. But you still want to remind them of the scene, characters, or elements you’ll be discussing. 
• Present your thesis statement. Your thesis statement is the backbone of your analytical paper. You need to present it clearly at the outset so that the reader understands what every argument you make is aimed at. 
• Offer a mini-outline. While you don’t want to show all your cards just yet, you do want to preview some of the evidence you’ll be using to support your thesis so that the reader has a roadmap of where they’re going. 

Step 8: Write Your Body Paragraphs

Thanks to steps one through seven, you’ve already set yourself up for success. You have clearly outlined arguments and evidence to support them. Now it’s time to translate those into authoritative and confident prose. 

When presenting each idea, begin with a topic sentence that encapsulates the argument you’re about to make (sort of like a mini-thesis statement). Then present your evidence and explanations of that evidence that contribute to that argument. Present enough material to prove your point, but don’t feel like you necessarily have to point out every single instance in the text where this element takes place. For example, if you’re highlighting a symbol that repeats throughout the narrative, choose two or three passages where it is used most effectively, rather than trying to squeeze in all ten times it appears. 

While you should have clearly defined arguments, the essay should still move logically and fluidly from one argument to the next. Try to avoid choppy paragraphs that feel disjointed; every idea and argument should feel connected to the last, and, as a group, connected to your thesis. A great way to connect the ideas from one paragraph to the next is with transition words and phrases, such as: 

• Furthermore 
• In addition
• On the other hand
• Conversely 

Step 9: Write Your Conclusion 

Your conclusion is more than a summary of your essay's parts, but it’s also not a place to present brand new ideas not already discussed in your essay. Instead, your conclusion should return to your thesis (without repeating it verbatim) and point to why this all matters. If writing about the siblings in “The Fall of the House of Usher,” for example, you could point out that the utilization of twins and doubles is a common literary element of Poe’s work that contributes to the definitive eeriness of Gothic literature. 

While you might speak to larger ideas in your conclusion, be wary of getting too macro. Your conclusion should still be supported by all of the ideas that preceded it. 

Step 10: Revise, Revise, Revise

Of course you should proofread your literary analysis essay before you turn it in. But you should also edit the content to make sure every piece of evidence and every explanation directly supports your thesis as effectively and efficiently as possible. 

Sometimes, this might mean actually adapting your thesis a bit to the rest of your essay. At other times, it means removing redundant examples or paraphrasing quotations. Make sure every sentence is valuable, and remove those that aren’t. 

Other Resources for Literary Analysis 

With these skills and suggestions, you’re well on your way to practicing and writing literary analysis. But if you don’t have a firm grasp on the concepts discussed above—such as literary devices or even the content of the text you’re analyzing—it will still feel difficult to produce insightful analysis. 

If you’d like to sharpen the tools in your literature toolbox, there are plenty of other resources to help you do so: 

• Check out our expansive library of Literary Devices . These could provide you with a deeper understanding of the basic devices discussed above or introduce you to new concepts sure to impress your professors ( anagnorisis , anyone?). 
• This Academic Citation Resource Guide ensures you properly cite any work you reference in your analytical essay. 
• Our English Homework Help Guide will point you to dozens of resources that can help you perform analysis, from critical reading strategies to poetry helpers. 
• This Grammar Education Resource Guide will direct you to plenty of resources to refine your grammar and writing (definitely important for getting an A+ on that paper). 

Of course, you should know the text inside and out before you begin writing your analysis. In order to develop a true understanding of the work, read through its corresponding SuperSummary study guide . Doing so will help you truly comprehend the plot, as well as provide some inspirational ideas for your analysis.

And in Conclusion: Inquiring into Strategies for Writing Effective Conclusions

• Resources & Preparation
• Instructional Plan
• Related Resources

As part of the drafting and revision process for a current literary analysis essay (or another type of argument), students first participate in initial peer review to improve the argument in their essay. Then they inquire into published tips and advice on writing conclusions and analyze sample conclusions with a partner before choosing two strategies they would like to try in their own writing, drafting a conclusion that employs each.  After writing two different conclusions and conferring with a peer about them, they choose one and reflect on why they chose it, as well as what they learned about writing conclusions and the writing process more broadly.  Though this lesson is framed around an argumentative literary essay, its structure could be easily adapted to other written forms.

Featured Resources

List of Online Resources for Writing Conclusions :  Organized in two parts, these resources allow students to inquire into different published advice on writing conclusions to academic essays and then offer students sample essays to review and critique.

Conclusion Inquiry Guide :  Students use these prompts to guide their inquiry into advice on writing conclusions and sample argumentative essays.

From Theory to Practice

The conclusions to student essays are often formulaic restatements of the key ideas of their introductions.  While there is fairly wide agreement on strategies for constructing and improving introductions, there are fewer resources investigating “how to conclude,” partly perhaps because of the very context- and piece-specific nature of what a conclusion might do.

This lesson, then, draws heavily on two ideas from the more foundational NCTE Beliefs about the Teaching of Writing to guide students through inquiry into the genre of the argumentative essay and what function the conclusion can serve:

“Developing writers require support. This support can best come through carefully designed writing instruction oriented toward acquiring new strategies and skills.”

“As is the case with many other things people do, getting better at writing requires doing it -- a lot. This means actual writing, not merely listening to lectures about writing, doing grammar drills, or discussing readings. The more people write, the easier it gets and the more they are motivated to do it.”

Students participating in this lesson are supported in the specific task of drafting multiple conclusions to an essay to determine which is most effective, a process that itself involves significant writing to achieve.

Common Core Standards

This resource has been aligned to the Common Core State Standards for states in which they have been adopted. If a state does not appear in the drop-down, CCSS alignments are forthcoming.

State Standards

This lesson has been aligned to standards in the following states. If a state does not appear in the drop-down, standard alignments are not currently available for that state.

NCTE/IRA National Standards for the English Language Arts

• 4. Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) to communicate effectively with a variety of audiences and for different purposes.
• 5. Students employ a wide range of strategies as they write and use different writing process elements appropriately to communicate with different audiences for a variety of purposes.
• 7. Students conduct research on issues and interests by generating ideas and questions, and by posing problems. They gather, evaluate, and synthesize data from a variety of sources (e.g., print and nonprint texts, artifacts, people) to communicate their discoveries in ways that suit their purpose and audience.

Materials and Technology

• Access to Internet-connected computers
• Peer Response Sheet
• Conclusion Inquiry Guide
• Conclusion Peer Response Guide

Organized in two parts, these resources allow students to inquire into different published advice on writing conclusions to academic essays and then offer students sample essays to review and critique.on

Preparation

A student recently pointed out that essay expectation sheets and rubrics often give detailed descriptions of or advice about how to approach the introduction and body paragraphs, and then offer very brief attention to the conclusion.  She noted that they might say something along the lines of “Bring your paper to a close without restating the introduction directly.”  This seems to be a symptom of teachers ourselves under-thinking what can make a conclusion effective.  To prepare for this lesson, first reflect on your own assignment sheets, rubrics, and beliefs about what a conclusion does in an argumentative essay.  Are there principles that cross multiple types of writing (bridging the reader from the specifics of the essay back to the general world)?  Are there some that are more specific to certain types of essays (the call for social action, for example)?  As part of this work, preview the Online Resources for Writing Conclusions and consider how some of the suggestions align with your own thinking about effective conclusions.

• This lesson assumes some familiarity with essay writing and works best when students have drafted most of an essay except for a conclusion.  Consider using the Essay Map to facilitate this process.
• This lesson assumes some familiarity with effective peer response practice  Consider using ideas and strategies from Peer Edit with Perfection: Effective Strategies or Peer Review .
• Make copies of all necessary handouts.
• Arrange for access to Internet-connected computers for Sessions Two and Three, ideally one computer for every two students.
• Check links in the List of Online Resources for Writing Conclusions to ensure students can access all necessary resources.

Student Objectives

Students will

revise an existing essay in preparation for writing a conclusion.

develop through inquiry a repertoire of strategies for concluding a literary analysis essay.

draft multiple conclusions and select one based on peer conferring.

• reflect on their choice of submitted conclusion and learning throughout the lesson.

Session One

• Begin the lesson by eliciting from students various advice they have gotten in the past about writing conclusions, as well as strategies they have used before to conclude their academic writing.  If students have access to their writing folders or digital portfolios, give them time to scan over conclusions of past essays.
• As students share, record or project their responses and ask them to reflect on how useful that advice has been or how successfully those strategies have served them.  Be sure to encourage discussion of what students think of as “bad conclusions,” even when those conclusions seem to be following advice that they have gotten.  Discussion will likely generate a shared understanding that writing conclusions is a common challenge, and that no certain approach or advice always works all the time.
• Explain that in this lesson, students will inquire into different approaches they might take to conclude their current essay with an eye toward building a larger repertoire of strategies they might use in crafting conclusions in the future.  Emphasize that the goal of this lesson is not to develop “one right way” to conclude a paper or essay, but to increase possibilities for and flexibility in  their writing.
• Share with students that a conclusion is typically only as effective as the argument that comes before it, so they will first participate in a peer response activity in this session to improve the existing draft of the essay.
• Explain the expectations for peer revision using the Peer Response Sheet to guide the conversation.  After trading essays and first reading drafts in their entirety, students should answer the questions on the Peer Response Sheet to provide feedback to their partner.
• Give students time to read and respond to a partner’s essay and then share and clarify feedback before asking students to set three revision goals for the next session at the bottom of the Peer Response Sheet .
• Set or agree upon a date for the next session (probably not the next day) and share the expectation that students come to class with a revised essay that works toward the goals they set in this session.

Session Two

• Inform students that in the next few sessions, they will be investigating some Online Resources for Writing Conclusions to generate new ideas and analyzing sample essays for their effectiveness.
• Share the link to the List of Online Resources for Writing Conclusions and distribute copies of the Conclusion Inquiry Guide , explaining how they will use the two together: first to investigate advice for writing conclusions, and then to read sample essays to evaluate in light of that advice (in the next session).
• Direct students, perhaps in their peer response pairs from the previous session, to investigate the Online Resources for Writing Conclusions and complete the Conclusion Inquiry Guide .
• Depending on your students’ levels of independence, you may wish to provide additional guidance in investigating the Online Resources for Writing Conclusions .  You might, for example, set a timer for each of the sites in the Tips/Advice section and after students have investigated, facilitate a full class discussion about what they noticed or will put on their Conclusion Inquiry Guide .  Also consider asking them to talk through with their partner some of the strategies on their current essay.  The strategies on the University of North Carolina at Chapel Hill Writing Center: Conclusions website lend themselves particularly well to this kind of work.
• If time permits after pairs have finished, ask them to find another pair with whom to share their impressions, findings, and ideas.
• Collect the Conclusion Inquiry Guide to return to students in the next session for analyzing sample essays.

Session Three

• Open this session by returning students’ Conclusion Inquiry Guides and drawing their attention to the second half of the guide, which prompts students to choose and critique two of the essays from the Online Resources for Writing Conclusions .
• Point students to the Online Resources for Writing Conclusions and be sure they understand the expectations for the activity: to read the essays in light of the tips and strategies they developed in the previous session and to point out the strengths and weaknesses of the conclusions.
• Depending on your students’ level of independence, consider reading and analyzing one of the four essays together as a class before asking pairs to evaluate and analyze.  Adaptations to this part of the activity might include projecting the essays, but covering the conclusion.  Then have student pairs brainstorm possible ways they might conclude before comparing their conclusions to what was written. Or, ask student pairs to rewrite one of the conclusions based on the feedback they offer.  Regardless, remind students to note their impressions in the spaces provided on the Inquiry Guide .
• Near the end of the session, bring the class back together to debrief what they noticed and learned, focusing specifically on generating ideas that they might try in their own writing.
• Ask students to re-read and bring with them their essay drafts before the next session.

Session Four

Ask students to get out their essay drafts and review their Inquiry Guides .  Explain that in this session, they will choose two techniques they are interested in “trying on” to conclude their essay.  Point out that many of the strategies will require additional revision to the body of the essay (particularly the introduction).

Give students a few minutes to talk through their ideas with their peer response partners or another nearby classmate.

Have students get out two sheets of paper or open two documents and give them time to draft a conclusion that tries each of the strategies.  Circulate the room to assist students in decision making and drafting, and encourage students to continue to confer with their peer review partner as necessary.

• As students complete drafting their two conclusions, ask them to bring a copy of both versions of their essay to the next session, one with each possible conclusion.

Session Five

• Explain to students that in this session, they will meet again in their peer response pairs to provide one another feedback on their current essay drafts and conclusions.
• Share the Conclusion Peer Response Guide and explain its expectations and how it will shape their interaction in the pair.
• Give students time to read each other’s essays, with particular attention paid to the conclusions, and provide one another feedback on their conclusions using the  Conclusion Peer Response Guide .
• Close the lesson by asking students to share with the full group ideas, strategies, and questions they still have about writing effective conclusions, both for this essay and for academic writing in general.
• Explain that students should select a conclusion and make any necessary revisions to it and to the rest of the essay before submitting it.  On the day papers are due, also consider having students respond to the reflection questions in the Assessment section below.

Have students develop a Web resource of their own, similar to those in the lesson, to share their learning about effective conclusions.  Include links to their essays, with multiple versions of conclusions and commentary about their effectiveness.

• Use this inquiry model to support students in working through other trouble spots in academic writing, including introductions, transitions, developing support, or writing in different genres/styles.

Student Assessment / Reflections

When students submit their essays, ask them to reflect on their learning by responding to questions such as these:

How do the introduction, body paragraphs, and conclusion work together to make a coherent argument?

Why did you choose to submit this conclusion rather than the other?

What did you learn about writing conclusions through participation in this activity?

What did you learn about your writing process (and yourself as a writer) by participating in this activity?

• Student Interactives
• Lesson Plans
• Strategy Guides
• Professional Library

The Essay Map is an interactive graphic organizer that enables students to organize and outline their ideas for an informational, definitional, or descriptive essay.

Students prepare an already published scholarly article for presentation, with an emphasis on identification of the author's thesis and argument structure.

This strategy guide clarifies the difference between persuasion and argumentation, stressing the connection between close reading of text to gather evidence and formation of a strong argumentative claim about text.

This strategy guide explains the writing process and offers practical methods for applying it in your classroom to help students become proficient writers.

With full recognition that writing is an increasingly multifaceted activity, we offer several principles that should guide effective teaching practice.

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Literary Analysis Essay Writing

Literary Analysis Essay Outline

Literary Analysis Essay Outline - A Step By Step Guide

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How to Write a Literary Analysis Essay - A Step-by-Step Guide

Interesting Literary Analysis Essay Topics & Ideas

Have you ever felt stuck, looking at a blank page, wondering what a literary analysis essay is? You are not sure how to analyze a complicated book or story? 

Writing a literary analysis essay can be tough, even for people who really love books. The hard part is not only understanding the deeper meaning of the story but also organizing your thoughts and arguments in a clear way.

But don't worry!

In this easy-to-follow guide, we will talk about a key tool: The Literary Analysis Essay Outline. 

We'll provide you with the knowledge and tricks you need to structure your analysis the right way. In the end, you'll have the essential skills to understand and structure your literature analysis better.   So, let’s dive in!

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• 1. How to Write a Literary Analysis Essay Outline?
• 2. Literary Analysis Essay Format 
• 3. Literary Analysis Essay Outline Example
• 4. Literary Analysis Essay Topics 

How to Write a Literary Analysis Essay Outline?

An outline is a structure that you decide to give to your writing to make the audience understand your viewpoint clearly. When a writer gathers information on a topic, it needs to be organized to make sense.

When writing a literary analysis essay, its outline is as important as any part of it. For the text’s clarity and readability, an outline is drafted in the essay’s planning phase.

According to the basic essay outline, the following are the elements included in drafting an outline for the essay:

• Introduction
• Thesis statement
• Body paragraphs

A detailed description of the literary analysis outline is provided in the following section.

Literary Analysis Essay Introduction

An introduction section is the first part of the essay. The introductory paragraph or paragraphs provide an insight into the topic and prepares the readers about the literary work.

A literary analysis essay introduction is based on three major elements:

Hook Statement: A hook statement is the opening sentence of the introduction. This statement is used to grab people’s attention. A catchy hook will make the introductory paragraph interesting for the readers, encouraging them to read the entire essay.

For example, in a literary analysis essay, “ Island Of Fear,” the writer used the following hook statement:

“As humans, we all fear something, and we deal with those fears in ways that match our personalities.”

Background Information: Providing background information about the chosen literature work in the introduction is essential. Present information related to the author, title, and theme discussed in the original text.

Moreover, include other elements to discuss, such as characters, setting, and the plot. For example:

“ In Lord of the Flies, William Golding shows the fears of Jack, Ralph, and Piggy and chooses specific ways for each to deal with his fears.”

Thesis Statement: A thesis statement is the writer’s main claim over the chosen piece of literature. 

A thesis statement allows your reader to expect the purpose of your writing. The main objective of writing a thesis statement is to provide your subject and opinion on the essay.

For example, the thesis statement in the “Island of Fear” is:

“...Therefore, each of the three boys reacts to fear in his own unique way.”

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Literary Analysis Essay Body Paragraphs

In body paragraphs, you dig deep into the text, show your insights, and build your argument.

 In this section, we'll break down how to structure and write these paragraphs effectively:

Topic sentence: A topic sentence is an opening sentence of the paragraph. The points that will support the main thesis statement are individually presented in each section.

For example:

“The first boy, Jack, believes that a beast truly does exist…”

Evidence: To support the claim made in the topic sentence, evidence is provided. The evidence is taken from the selected piece of work to make the reasoning strong and logical.

“...He is afraid and admits it; however, he deals with his fear of aggressive violence. He chooses to hunt for the beast, arms himself with a spear, and practice killing it: “We’re strong—we hunt! If there’s a beast, we’ll hunt it down! We’ll close in and beat and beat and beat—!”(91).”

Analysis: A literary essay is a kind of essay that requires a writer to provide his analysis as well.

The purpose of providing the writer’s analysis is to tell the readers about the meaning of the evidence.

“...He also uses the fear of the beast to control and manipulate the other children. Because they fear the beast, they are more likely to listen to Jack and follow his orders...”

Transition words: Transition or connecting words are used to link ideas and points together to maintain a logical flow.  Transition words  that are often used in a literary analysis essay are:

• Furthermore
• Later in the story
• In contrast, etc.

“...Furthermore, Jack fears Ralph’s power over the group and Piggy’s rational thought. This is because he knows that both directly conflict with his thirst for absolute power...”

Concluding sentence: The last sentence of the body that gives a final statement on the topic sentence is the concluding sentence. It sums up the entire discussion held in that specific paragraph.

Here is a literary analysis paragraph example for you: 

Literary Essay Example Pdf

Literary Analysis Essay Conclusion

The last section of the essay is the conclusion part where the writer ties all loose ends of the essay together. To write appropriate and correct concluding paragraphs, add the following information:

• State how your topic is related to the theme of the chosen work
• State how successfully the author delivered the message
• According to your perspective, provide a statement on the topic
• If required, present predictions
• Connect your conclusion to your introduction by restating the thesis statement.
• In the end, provide an opinion about the significance of the work.

For example,

“ In conclusion, William Golding’s novel Lord of the Flies exposes the reader to three characters with different personalities and fears: Jack, Ralph, and Piggy. Each of the boys tries to conquer his fear in a different way. Fear is a natural emotion encountered by everyone, but each person deals with it in a way that best fits his/her individual personality.”

Literary Analysis Essay Outline (PDF)

Literary Analysis Essay Format 

A literary analysis essay delves into the examination and interpretation of a literary work, exploring themes, characters, and literary devices. 

Below is a guide outlining the format for a structured and effective literary analysis essay.

Formatting Guidelines 

• Use a legible font (e.g., Times New Roman or Arial) and set the font size to 12 points.
• Double-space your essay, including the title, headings, and quotations.
• Set one-inch margins on all sides of the page.
• Indent paragraphs by 1/2 inch or use the tab key.
• Page numbers, if required, should be in the header or footer and follow the specified formatting style.

Literary Analysis Essay Outline Example

To fully understand a concept in a writing world, literary analysis outline examples are important. This is to learn how a perfectly structured writing piece is drafted and how ideas are shaped to convey a message. 

The following are the best literary analysis essay examples to help you draft a perfect essay. 

Literary Analysis Essay Rubric (PDF)

High School Literary Analysis Essay Outline

Literary Analysis Essay Outline College (PDF)

Literary Analysis Essay Example Romeo & Juliet (PDF)

AP Literary Analysis Essay Outline

Literary Analysis Essay Outline Middle School

Literary Analysis Essay Topics 

Are you seeking inspiration for your next literary analysis essay? Here is a list of literary analysis essay topics for you:

• The Theme of Alienation in "The Catcher in the Rye"
• The Motif of Darkness in Shakespeare's Tragedies
• The Psychological Complexity of Hamlet's Character
• Analyzing the Narrator's Unreliable Perspective in "The Tell-Tale Heart"
• The Role of Nature in William Wordsworth's Romantic Poetry
• The Representation of Social Class in "To Kill a Mockingbird"
• The Use of Irony in Mark Twain's "The Adventures of Huckleberry Finn"
• The Impact of Holden's Red Hunting Hat in the Novel
• The Power of Setting in Gabriel García Márquez's "One Hundred Years of Solitude"
• The Symbolism of the Conch Shell in William Golding's "Lord of the Flies"

Need more topics? Read our literary analysis essay topics blog!

All in all, writing a literary analysis essay can be tricky if it is your first attempt. Apart from analyzing the work, other elements like a topic and an accurate interpretation must draft this type of essay.

If you are in doubt to draft a perfect essay, get professional assistance from our essay service .

We are a professional essay writing company that provides guidance and helps students to achieve their academic goals. Our qualified writers assist students by providing assistance at an affordable price. 

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Essay Composition

Conclusions, what this handout is about.

This handout will explain the functions of conclusions, offer strategies for writing effective ones, help you evaluate conclusions you’ve drafted, and suggest approaches to avoid.

About conclusions

Introductions and conclusions can be difficult to write, but they’re worth investing time in. They can have a significant influence on a reader’s experience of your paper.

Just as your introduction acts as a bridge that transports your readers from their own lives into the “place” of your analysis, your conclusion can provide a bridge to help your readers make the transition back to their daily lives. Such a conclusion will help them see why all your analysis and information should matter to them after they put the paper down.

Your conclusion is your chance to have the last word on the subject. The conclusion allows you to have the final say on the issues you have raised in your paper, to synthesize your thoughts, to demonstrate the importance of your ideas, and to propel your reader to a new view of the subject. It is also your opportunity to make a good final impression and to end on a positive note.

Your conclusion can go beyond the confines of the assignment. The conclusion pushes beyond the boundaries of the prompt and allows you to consider broader issues, make new connections, and elaborate on the significance of your findings.

Your conclusion should make your readers glad they read your paper. Your conclusion gives your reader something to take away that will help them see things differently or appreciate your topic in personally relevant ways. It can suggest broader implications that will not only interest your reader, but also enrich your reader’s life in some way. It is your gift to the reader.

Strategies for writing an effective conclusion

One or more of the following strategies may help you write an effective conclusion:

• Play the “So What” Game.  If you’re stuck and feel like your conclusion isn’t saying anything new or interesting, ask a friend to read it with you. Whenever you make a statement from your conclusion, ask the friend to say, “So what?” or “Why should anybody care?” Then ponder that question and answer it. Here’s how it might go: You: Basically, I’m just saying that education was important to Douglass. Friend: So what? You: Well, it was important because it was a key to him feeling like a free and equal citizen. Friend: Why should anybody care? You: That’s important because plantation owners tried to keep slaves from being educated so that they could maintain control. When Douglass obtained an education, he undermined that control personally. You can also use this strategy on your own, asking yourself “So What?” as you develop your ideas or your draft.
• Return to the theme or themes in the introduction.  This strategy brings the reader full circle. For example, if you begin by describing a scenario, you can end with the same scenario as proof that your essay is helpful in creating a new understanding. You may also refer to the introductory paragraph by using key words or parallel concepts and images that you also used in the introduction.
• Synthesize, don’t summarize.  Include a brief summary of the paper’s main points, but don’t simply repeat things that were in your paper. Instead, show your reader how the points you made and the support and examples you used fit together. Pull it all together.
• Include a provocative insight or quotation from the research or reading you did for your paper.
• Propose a course of action, a solution to an issue, or questions for further study.  This can redirect your reader’s thought process and help her to apply your info and ideas to her own life or to see the broader implications.
• Point to broader implications.  For example, if your paper examines the Greensboro sit-ins or another event in the Civil Rights Movement, you could point out its impact on the Civil Rights Movement as a whole. A paper about the style of writer Virginia Woolf could point to her influence on other writers or on later feminists.

Strategies to avoid

• Beginning with an unnecessary, overused phrase such as “in conclusion,” “in summary,” or “in closing.” Although these phrases can work in speeches, they come across as wooden and trite in writing.
• Stating the thesis for the very first time in the conclusion.
• Introducing a new idea or subtopic in your conclusion.
• Ending with a rephrased thesis statement without any substantive changes.
• Making sentimental, emotional appeals that are out of character with the rest of an analytical paper.
• Including evidence (quotations, statistics, etc.) that should be in the body of the paper.

Four kinds of ineffective conclusions

• The “That’s My Story and I’m Sticking to It” Conclusion.  This conclusion just restates the thesis and is usually painfully short. It does not push the ideas forward. People write this kind of conclusion when they can’t think of anything else to say. Example: In conclusion, Frederick Douglass was, as we have seen, a pioneer in American education, proving that education was a major force for social change with regard to slavery.
• The “Sherlock Holmes” Conclusion.  Sometimes writers will state the thesis for the very first time in the conclusion. You might be tempted to use this strategy if you don’t want to give everything away too early in your paper. You may think it would be more dramatic to keep the reader in the dark until the end and then “wow” him with your main idea, as in a Sherlock Holmes mystery. The reader, however, does not expect a mystery, but an analytical discussion of your topic in an academic style, with the main argument (thesis) stated up front. Example: (After a paper that lists numerous incidents from the book but never says what these incidents reveal about Douglass and his views on education): So, as the evidence above demonstrates, Douglass saw education as a way to undermine the slaveholders’ power and also an important step toward freedom.
• The “America the Beautiful”/”I Am Woman”/”We Shall Overcome” Conclusion.  This kind of conclusion usually draws on emotion to make its appeal, but while this emotion and even sentimentality may be very heartfelt, it is usually out of character with the rest of an analytical paper. A more sophisticated commentary, rather than emotional praise, would be a more fitting tribute to the topic. Example: Because of the efforts of fine Americans like Frederick Douglass, countless others have seen the shining beacon of light that is education. His example was a torch that lit the way for others. Frederick Douglass was truly an American hero.
• The “Grab Bag” Conclusion.  This kind of conclusion includes extra information that the writer found or thought of but couldn’t integrate into the main paper. You may find it hard to leave out details that you discovered after hours of research and thought, but adding random facts and bits of evidence at the end of an otherwise-well-organized essay can just create confusion. Example: In addition to being an educational pioneer, Frederick Douglass provides an interesting case study for masculinity in the American South. He also offers historians an interesting glimpse into slave resistance when he confronts Covey, the overseer. His relationships with female relatives reveal the importance of family in the slave community.

Works consulted

We consulted these works while writing the original version of this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find the latest publications on this topic. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the  UNC Libraries citation tutorial .

All quotations are from:

Douglass, Frederick. Narrative of the Life of Frederick Douglass, an American Slave, edited and with introduction by Houston A. Baker, Jr., New York: Penguin Books, 1986.

“Strategies for Writing a Conclusion.”  Literacy Education Online, St. Cloud State University. 18 May 2005

“Conclusions.”  Nesbitt-Johnston Writing Center, Hamilton College. 17 May 2005

• Provided by : The Writing Center, University of North Carolina at Chapel Hill. Located at : https://writingcenter.unc.edu/tips-and-tools/conclusions/ . License : CC BY-NC-ND: Attribution-NonCommercial-NoDerivatives

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EL Education Curriculum

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• ELA G4:M1:U2:L13

Writing a Literary Essay: Conclusion

In this lesson, daily learning targets, ongoing assessment.

• Technology and Multimedia

Supporting English Language Learners

Universal design for learning, closing & assessments, you are here:.

• ELA Grade 4
• ELA G4:M1:U2

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These are the CCS Standards addressed in this lesson:

• W.4.2: Write informative/explanatory texts to examine a topic and convey ideas and information clearly.
• W.4.2a: Introduce a topic clearly and group related information in paragraphs and sections; include formatting (e.g., headings), illustrations, and multimedia when useful to aiding comprehension.
• W.4.2e: Provide a concluding statement or section related to the information or explanation presented.
• W.4.5: With guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, and editing.
• I can plan and write the conclusion paragraph for my essay. ( W.4.2e, W.4.5 )
• I can revise my essay so related information is grouped into paragraphs, and each paragraph explains a main idea. ( W.4.2a )
• Conclusion of literary essay ( W.4.2e, W.4.5 )
• Revision notes ( W.4.2a )
• Strategically pair students for work during Opening A, with at least one strong reader per pair.
• Prepare the Organizing the Model: Conclusion Paragraph strips (see supporting materials).
• Review the Thumb-O-Meter protocol. See Classroom Protocols.
• Post: Learning targets, Literary Essay anchor chart, and Working to Become Effective Learners anchor chart.

Tech and Multimedia

• Work Time A: Students write their conclusion paragraph on a word-processing document--for example, a Google Doc.

Supports guided in part by CA ELD Standards 4.I.C.1o and 4.II.A.1

Important points in the lesson itself

• The basic design of this lesson supports ELLs with opportunities to work closely with essay structure, building on their understanding one paragraph at a time. In this lesson, students focus on the concluding paragraph of their literary essay. They also revise their writing for organization using colors and kinesthetic activities.
• ELLs may find it challenging to keep pace with the class as they work to revise each paragraph to underline each sentence based on its relevance to the introduction. While circulating and supporting students, consider working individually with students who need heavier support. Reread each sentence with them and support them as they determine which color to use as they underline.

Levels of support

For lighter support:

• Challenge students to use the sentence frame introduced at the end of the Mini Language Dive as they write their conclusions: "[Poet] was inspired to write poetry about ______, and his or her work has also _______."Invite intermediate and advanced proficiency students to generate alternative sentence frames they could use in their concluding paragraphs.

For heavier support:

• During Work Time A, distribute a template with a cloze version of a concluding paragraph. Allow students who need prompting or who may be overwhelmed by starting from scratch to use this version. Example: "[Poet] was inspired to write poetry about ________. My favorite poem by [Poet] is "________" because __________. In the book Love That Dog by Sharon Creech, Jack writes ________ after reading "_________" by [Poet]."
• During Work Time B, rewrite a selection of sentences from the organization model on sentence strips. Color-code each sentence according to its relevant sentence in the introduction. Present the paragraphs scrambled and invite students to organize the sentence strips into the correct paragraphs. Ask students how the sorting activity is similar to the revision process.
• Multiple Means of Representation (MMR): Some students may require additional support with the expectations for the concluding paragraph. Consider reviewing and clarifying the Informative Writing Checklist with a small group. Also consider thinking aloud to make the thought process explicit. (Example: Provide a think-aloud to show how you incorporate ideas from the model literary essay into an original paragraph.) This way, students will not only see the model visually, but also will be able to understand the thought processes behind it.
• Multiple Means of Action and Expression (MMAE): This lesson provides 25 minutes of writing time. Some students may need additional support to build their writing stamina. Support students in building their stamina and focus by providing scaffolds that build an environment that is conducive to writing (see Meeting Students' Needs column).
• Multiple Means of Engagement (MME) : Students who need additional support with writing may have negative associations with writing tasks based on previous experiences. Help them feel successful with writing by allowing them to create feasible goals and celebrate when these goals are met. For instance, place a sticker or a star at a specific point on the page (e.g., two pages) that provides a visual writing target for the day. Also, construct goals for sustained writing by chunking the 25-minute writing block into smaller pieces. Provide choice for a break activity at specific time points when students have demonstrated writing progress. Celebrate students who meet their writing goals, whether it is length of the text or sustained writing time.

Key:  Lesson-Specific Vocabulary (L); Text-Specific Vocabulary (T); Vocabulary Used in Writing (W)

• conclusion, restate (L)
• Organizing the Model: Conclusion Paragraph strips (one set per pair)
• Painted Essay(r) template (from Lesson 9; one per student)
• Model literary essay (from Lesson 9; one per student and one to display)
• Literary Essay anchor chart (begun in Lesson 10; added to during Opening A)
• Literary Essay anchor chart (example, for teacher reference)
• Informative Essay Prompt: What Inspires Poets? (from Lesson 6, one per student and one to display)
• Working to Become Effective Learners anchor chart (begun in Lesson 1)
• Informative Writing Checklist (from Lesson 9; one per student and one to display)
• Expert group poet biographies (from Lesson 7; one per student in each expert group)
• Close Read Note-catcher: Expert Group Poet (from Lesson 7; one per student)
• Green, blue, and yellow markers (one of each color per student)
• Literary essay draft (begun in Lesson 10; added to during Work Time A; one per student)
• Domain-Specific Word Wall (begun in Unit 1, Lesson 3)
• Organization model (one per student and one to display)

Each unit in the 3-5 Language Arts Curriculum has two standards-based assessments built in, one mid-unit assessment and one end of unit assessment. The module concludes with a performance task at the end of Unit 3 to synthesize their understanding of what they accomplished through supported, standards-based writing.

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