Yo Essay

General Essay Writing Tips


Despite the fact that, as Shakespeare said, "the pen is mightier than the sword," the pen itself is not enough to make an effective writer. In fact, though we may all like to think of ourselves as the next Shakespeare, inspiration alone is not the key to effective essay writing. You see, the conventions of English essays are more formulaic than you might think – and, in many ways, it can be as simple as counting to five.

The Five Paragraph Essay

Though more advanced academic papers are a category all their own, the basic high school or college essay has the following standardized, five paragraph structure:

Paragraph 1: Introduction
Paragraph 2: Body 1
Paragraph 3: Body 2
Paragraph 4: Body 3
Paragraph 5: Conclusion

Though it may seem formulaic – and, well, it is - the idea behind this structure is to make it easier for the reader to navigate the ideas put forth in an essay. You see, if your essay has the same structure as every other one, any reader should be able to quickly and easily find the information most relevant to them.

The Introduction

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The principle purpose of the introduction is to present your position (this is also known as the "thesis" or "argument") on the issue at hand but effective introductory paragraphs are so much more than that. Before you even get to this thesis statement, for example, the essay should begin with a "hook" that grabs the reader’s attention and makes them want to read on. Examples of effective hooks include relevant quotations ("no man is an island") or surprising statistics ("three out of four doctors report that…").

Only then, with the reader’s attention "hooked," should you move on to the thesis. The thesis should be a clear, one-sentence explanation of your position that leaves no doubt in the reader’s mind about which side you are on from the beginning of your essay.

Following the thesis, you should provide a mini-outline which previews the examples you will use to support your thesis in the rest of the essay. Not only does this tell the reader what to expect in the paragraphs to come but it also gives them a clearer understanding of what the essay is about.

Finally, designing the last sentence in this way has the added benefit of seamlessly moving the reader to the first paragraph of the body of the paper. In this way we can see that the basic introduction does not need to be much more than three or four sentences in length. If yours is much longer you might want to consider editing it down a bit!

Here, by way of example, is an introductory paragraph to an essay in response to the following question:

"Do we learn more from finding out that we have made mistakes or from our successful actions?"

"No man is an island" and, as such, he is constantly shaped and influenced by his experiences. People learn by doing and, accordingly, learn considerably more from their mistakes than their success. For proof of this, consider examples from both science and everyday experience.

DO – Pay Attention to Your Introductory Paragraph

Because this is the first paragraph of your essay it is your opportunity to give the reader the best first impression possible. The introductory paragraph not only gives the reader an idea of what you will talk about but also shows them how you will talk about it. Put a disproportionate amount of effort into this – more than the 20% a simple calculation would suggest – and you will be rewarded accordingly.

DO NOT – Use Passive Voice or I/My

Active voice, wherein the subjects direct actions rather than let the actions "happen to" them – "he scored a 97%" instead of "he was given a 97%" – is a much more powerful and attention-grabbing way to write. At the same time, unless it is a personal narrative, avoid personal pronouns like I, My, or Me. Try instead to be more general and you will have your reader hooked.

The Body Paragraphs

The middle paragraphs of the essay are collectively known as the body paragraphs and, as alluded to above, the main purpose of a body paragraph is to spell out in detail the examples that support your thesis.

For the first body paragraph you should use your strongest argument or most significant example unless some other more obvious beginning point (as in the case of chronological explanations) is required. The first sentence of this paragraph should be the topic sentence of the paragraph that directly relates to the examples listed in the mini-outline of introductory paragraph.

A one sentence body paragraph that simply cites the example of "George Washington" or "LeBron James" is not enough, however. No, following this an effective essay will follow up on this topic sentence by explaining to the reader, in detail, who or what an example is and, more importantly, why that example is relevant.

Even the most famous examples need context. For example, George Washington’s life was extremely complex – by using him as an example, do you intend to refer to his honesty, bravery, or maybe even his wooden teeth? The reader needs to know this and it is your job as the writer to paint the appropriate picture for them. To do this, it is a good idea to provide the reader with five or six relevant facts about the life (in general) or event (in particular) you believe most clearly illustrates your point.

Having done that, you then need to explain exactly why this example proves your thesis. The importance of this step cannot be understated (although it clearly can be underlined); this is, after all, the whole reason you are providing the example in the first place. Seal the deal by directly stating why this example is relevant.

Here is an example of a body paragraph to continue the essay begun above:

Take, by way of example, Thomas Edison. The famed American inventor rose to prominence in the late 19th century because of his successes, yes, but even he felt that these successes were the result of his many failures. He did not succeed in his work on one of his most famous inventions, the lightbulb, on his first try nor even on his hundred and first try. In fact, it took him more than 1,000 attempts to make the first incandescent bulb but, along the way, he learned quite a deal. As he himself said, "I did not fail a thousand times but instead succeeded in finding a thousand ways it would not work." Thus Edison demonstrated both in thought and action how instructive mistakes can be.

DO – Tie Things Together

The first sentence – the topic sentence - of your body paragraphs needs to have a lot individual pieces to be truly effective. Not only should it open with a transition that signals the change from one idea to the next but also it should (ideally) also have a common thread which ties all of the body paragraphs together. For example, if you used "first" in the first body paragraph then you should used "secondly" in the second or "on the one hand" and "on the other hand" accordingly.

DO NOT – Be Too General

Examples should be relevant to the thesis and so should the explanatory details you provide for them. It can be hard to summarize the full richness of a given example in just a few lines so make them count. If you are trying to explain why George Washington is a great example of a strong leader, for instance, his childhood adventure with the cherry tree (though interesting in another essay) should probably be skipped over.

A Word on Transitions

You may have noticed that, though the above paragraph aligns pretty closely with the provided outline, there is one large exception: the first few words. These words are example of a transitional phrase – others include "furthermore," "moreover," but also "by contrast" and "on the other hand" – and are the hallmark of good writing.

Transitional phrases are useful for showing the reader where one section ends and another begins. It may be helpful to see them as the written equivalent of the kinds of spoken cues used in formal speeches that signal the end of one set of ideas and the beginning of another. In essence, they lead the reader from one section of the paragraph of another.

To further illustrate this, consider the second body paragraph of our example essay:

In a similar way, we are all like Edison in our own way. Whenever we learn a new skill - be it riding a bike, driving a car, or cooking a cake - we learn from our mistakes. Few, if any, are ready to go from training wheels to a marathon in a single day but these early experiences (these so-called mistakes) can help us improve our performance over time. You cannot make a cake without breaking a few eggs and, likewise, we learn by doing and doing inevitably means making mistakes.

Hopefully this example not only provides another example of an effective body paragraph but also illustrates how transitional phrases can be used to distinguish between them.

The Conclusion

Although the conclusion paragraph comes at the end of your essay it should not be seen as an afterthought. As the final paragraph is represents your last chance to make your case and, as such, should follow an extremely rigid format.

One way to think of the conclusion is, paradoxically, as a second introduction because it does in fact contain many of the same features. While it does not need to be too long – four well-crafted sentence should be enough – it can make or break and essay.

Effective conclusions open with a concluding transition ("in conclusion," "in the end," etc.) and an allusion to the "hook" used in the introductory paragraph. After that you should immediately provide a restatement of your thesis statement.

This should be the fourth or fifth time you have repeated your thesis so while you should use a variety of word choice in the body paragraphs it is a acceptable idea to use some (but not all) of the original language you used in the introduction. This echoing effect not only reinforces your argument but also ties it nicely to the second key element of the conclusion: a brief (two or three words is enough) review of the three main points from the body of the paper.

Having done all of that, the final element – and final sentence in your essay – should be a "global statement" or "call to action" that gives the reader signals that the discussion has come to an end.

In the end, then, one thing is clear: mistakes do far more to help us learn and improve than successes. As examples from both science and everyday experience can attest, if we treat each mistake not as a misstep but as a learning experience the possibilities for self-improvement are limitless.

DO – Be Powerful

The conclusion paragraph can be a difficult paragraph to write effectively but, as it is your last chance to convince or otherwise impress the reader, it is worth investing some time in. Take this opportunity to restate your thesis with confidence; if you present your argument as "obvious" then the reader might just do the same.

DO NOT – Copy the First Paragraph

Although you can reuse the same key words in the conclusion as you did in the introduction, try not to copy whole phrases word for word. Instead, try to use this last paragraph to really show your skills as a writer by being as artful in your rephrasing as possible.

Taken together, then, the overall structure of a five paragraph essay should look something like this:

Introduction Paragraph

  • An attention-grabbing "hook"
  • A thesis statement
  • A preview of the three subtopics you will discuss in the body paragraphs.

First Body Paragraph

  • Topic sentence which states the first subtopic and opens with a transition
  • Supporting details or examples
  • An explanation of how this example proves your thesis

Second Body Paragraph

  • Topic sentence which states the second subtopic and opens with a transition
  • Supporting details or examples
  • An explanation of how this example proves your thesis

Third Body Paragraph

  • Topic sentence which states the third subtopic and opens with a transition
  • Supporting details or examples
  • An explanation of how this example proves your thesis

Concluding Paragraph

  • Concluding Transition, Reverse "hook," and restatement of thesis.
  • Rephrasing main topic and subtopics.
  • Global statement or call to action.

More tips to make your essay shine

Planning Pays

Although it may seem like a waste of time – especially during exams where time is tight – it is almost always better to brainstorm a bit before beginning your essay. This should enable you to find the best supporting ideas – rather than simply the first ones that come to mind – and position them in your essay accordingly.

Your best supporting idea – the one that most strongly makes your case and, simultaneously, about which you have the most knowledge – should go first. Even the best-written essays can fail because of ineffectively placed arguments.

Aim for Variety

Sentences and vocabulary of varying complexity are one of the hallmarks of effective writing. When you are writing, try to avoid using the same words and phrases over and over again. You don’t have to be a walking thesaurus but a little variance can make the same idea sparkle.

If you are asked about "money," you could try "wealth" or "riches." At the same time, avoid beginning sentences the dull pattern of "subject + verb + direct object." Although examples of this are harder to give, consider our writing throughout this article as one big example of sentence structure variety.

Practice! Practice! Practice!

In the end, though, remember that good writing does not happen by accident. Although we have endeavored to explain everything that goes into effective essay writing in as clear and concise a way as possible, it is much easier in theory than it is in practice.

As a result, we recommend that you practice writing sample essays on various topics. Even if they are not masterpieces at first, a bit of regular practice will soon change that – and make you better prepared when it comes to the real thing.

Now that you’ve learned how to write an effective essay, check out our Sample Essays so you can see how they are done in practice.

Essay Writing Center

Related Content:

I, Pencil
My Family Tree as told to Leonard E. Read

RP.1

I am a lead pencil—the ordinary wooden pencil familiar to all boys and girls and adults who can read and write.*

RP.2

Writing is both my vocation and my avocation; that's all I do.

RP.3

You may wonder why I should write a genealogy. Well, to begin with, my story is interesting. And, next, I am a mystery—more so than a tree or a sunset or even a flash of lightning. But, sadly, I am taken for granted by those who use me, as if I were a mere incident and without background. This supercilious attitude relegates me to the level of the commonplace. This is a species of the grievous error in which mankind cannot too long persist without peril. For, the wise G. K. Chesterton observed, "We are perishing for want of wonder, not for want of wonders."

RP.4

I, Pencil, simple though I appear to be, merit your wonder and awe, a claim I shall attempt to prove. In fact, if you can understand me—no, that's too much to ask of anyone—if you can become aware of the miraculousness which I symbolize, you can help save the freedom mankind is so unhappily losing. I have a profound lesson to teach. And I can teach this lesson better than can an automobile or an airplane or a mechanical dishwasher because—well, because I am seemingly so simple.

RP.5

Simple? Yet, not a single person on the face of this earth knows how to make me. This sounds fantastic, doesn't it? Especially when it is realized that there are about one and one-half billion of my kind produced in the U.S.A. each year.

RP.6

Pick me up and look me over. What do you see? Not much meets the eye—there's some wood, lacquer, the printed labeling, graphite lead, a bit of metal, and an eraser.

Innumerable Antecedents

RP.7

Just as you cannot trace your family tree back very far, so is it impossible for me to name and explain all my antecedents. But I would like to suggest enough of them to impress upon you the richness and complexity of my background.

RP.8

My family tree begins with what in fact is a tree, a cedar of straight grain that grows in Northern California and Oregon. Now contemplate all the saws and trucks and rope and the countless other gear used in harvesting and carting the cedar logs to the railroad siding. Think of all the persons and the numberless skills that went into their fabrication: the mining of ore, the making of steel and its refinement into saws, axes, motors; the growing of hemp and bringing it through all the stages to heavy and strong rope; the logging camps with their beds and mess halls, the cookery and the raising of all the foods. Why, untold thousands of persons had a hand in every cup of coffee the loggers drink!

RP.9

The logs are shipped to a mill in San Leandro, California. Can you imagine the individuals who make flat cars and rails and railroad engines and who construct and install the communication systems incidental thereto? These legions are among my antecedents.

RP.10

Consider the millwork in San Leandro. The cedar logs are cut into small, pencil-length slats less than one-fourth of an inch in thickness. These are kiln dried and then tinted for the same reason women put rouge on their faces. People prefer that I look pretty, not a pallid white. The slats are waxed and kiln dried again. How many skills went into the making of the tint and the kilns, into supplying the heat, the light and power, the belts, motors, and all the other things a mill requires? Sweepers in the mill among my ancestors? Yes, and included are the men who poured the concrete for the dam of a Pacific Gas & Electric Company hydroplant which supplies the mill's power!

RP.11

Don't overlook the ancestors present and distant who have a hand in transporting sixty carloads of slats across the nation.

RP.12

Once in the pencil factory—$4,000,000 in machinery and building, all capital accumulated by thrifty and saving parents of mine—each slat is given eight grooves by a complex machine, after which another machine lays leads in every other slat, applies glue, and places another slat atop—a lead sandwich, so to speak. Seven brothers and I are mechanically carved from this "wood-clinched" sandwich.

RP.13

My "lead" itself—it contains no lead at all—is complex. The graphite is mined in Ceylon. Consider these miners and those who make their many tools and the makers of the paper sacks in which the graphite is shipped and those who make the string that ties the sacks and those who put them aboard ships and those who make the ships. Even the lighthouse keepers along the way assisted in my birth—and the harbor pilots.

RP.14

The graphite is mixed with clay from Mississippi in which ammonium hydroxide is used in the refining process. Then wetting agents are added such as sulfonated tallow—animal fats chemically reacted with sulfuric acid. After passing through numerous machines, the mixture finally appears as endless extrusions—as from a sausage grinder-cut to size, dried, and baked for several hours at 1,850 degrees Fahrenheit. To increase their strength and smoothness the leads are then treated with a hot mixture which includes candelilla wax from Mexico, paraffin wax, and hydrogenated natural fats.

RP.15

My cedar receives six coats of lacquer. Do you know all the ingredients of lacquer? Who would think that the growers of castor beans and the refiners of castor oil are a part of it? They are. Why, even the processes by which the lacquer is made a beautiful yellow involve the skills of more persons than one can enumerate!

RP.16

Observe the labeling. That's a film formed by applying heat to carbon black mixed with resins. How do you make resins and what, pray, is carbon black?

RP.17

My bit of metal—the ferrule—is brass. Think of all the persons who mine zinc and copper and those who have the skills to make shiny sheet brass from these products of nature. Those black rings on my ferrule are black nickel. What is black nickel and how is it applied? The complete story of why the center of my ferrule has no black nickel on it would take pages to explain.

RP.18

Then there's my crowning glory, inelegantly referred to in the trade as "the plug," the part man uses to erase the errors he makes with me. An ingredient called "factice" is what does the erasing. It is a rubber-like product made by reacting rape-seed oil from the Dutch East Indies with sulfur chloride. Rubber, contrary to the common notion, is only for binding purposes. Then, too, there are numerous vulcanizing and accelerating agents. The pumice comes from Italy; and the pigment which gives "the plug" its color is cadmium sulfide.

No One Knows

RP.19

Does anyone wish to challenge my earlier assertion that no single person on the face of this earth knows how to make me?

RP.20

Actually, millions of human beings have had a hand in my creation, no one of whom even knows more than a very few of the others. Now, you may say that I go too far in relating the picker of a coffee berry in far off Brazil and food growers elsewhere to my creation; that this is an extreme position. I shall stand by my claim. There isn't a single person in all these millions, including the president of the pencil company, who contributes more than a tiny, infinitesimal bit of know-how. From the standpoint of know-how the only difference between the miner of graphite in Ceylon and the logger in Oregon is in the type of know-how. Neither the miner nor the logger can be dispensed with, any more than can the chemist at the factory or the worker in the oil field—paraffin being a by-product of petroleum.

RP.21

Here is an astounding fact: Neither the worker in the oil field nor the chemist nor the digger of graphite or clay nor any who mans or makes the ships or trains or trucks nor the one who runs the machine that does the knurling on my bit of metal nor the president of the company performs his singular task because he wants me. Each one wants me less, perhaps, than does a child in the first grade. Indeed, there are some among this vast multitude who never saw a pencil nor would they know how to use one. Their motivation is other than me. Perhaps it is something like this: Each of these millions sees that he can thus exchange his tiny know-how for the goods and services he needs or wants. I may or may not be among these items.

No Master Mind

RP.22

There is a fact still more astounding: the absence of a master mind, of anyone dictating or forcibly directing these countless actions which bring me into being. No trace of such a person can be found. Instead, we find the Invisible Hand at work. This is the mystery to which I earlier referred.

RP.23

It has been said that "only God can make a tree." Why do we agree with this? Isn't it because we realize that we ourselves could not make one? Indeed, can we even describe a tree? We cannot, except in superficial terms. We can say, for instance, that a certain molecular configuration manifests itself as a tree. But what mind is there among men that could even record, let alone direct, the constant changes in molecules that transpire in the life span of a tree? Such a feat is utterly unthinkable!

RP.24

I, Pencil, am a complex combination of miracles: a tree, zinc, copper, graphite, and so on. But to these miracles which manifest themselves in Nature an even more extraordinary miracle has been added: the configuration of creative human energies—millions of tiny know-hows configurating naturally and spontaneously in response to human necessity and desire and in the absence of any human master-minding! Since only God can make a tree, I insist that only God could make me. Man can no more direct these millions of know-hows to bring me into being than he can put molecules together to create a tree.

RP.25

The above is what I meant when writing, "If you can become aware of the miraculousness which I symbolize, you can help save the freedom mankind is so unhappily losing." For, if one is aware that these know-hows will naturally, yes, automatically, arrange themselves into creative and productive patterns in response to human necessity and demand—that is, in the absence of governmental or any other coercive masterminding—then one will possess an absolutely essential ingredient for freedom: a faith in free people. Freedom is impossible without this faith.

RP.26

Once government has had a monopoly of a creative activity such, for instance, as the delivery of the mails, most individuals will believe that the mails could not be efficiently delivered by men acting freely. And here is the reason: Each one acknowledges that he himself doesn't know how to do all the things incident to mail delivery. He also recognizes that no other individual could do it. These assumptions are correct. No individual possesses enough know-how to perform a nation's mail delivery any more than any individual possesses enough know-how to make a pencil. Now, in the absence of faith in free people—in the unawareness that millions of tiny know-hows would naturally and miraculously form and cooperate to satisfy this necessity—the individual cannot help but reach the erroneous conclusion that mail can be delivered only by governmental "master-minding."

Testimony Galore

RP.27

If I, Pencil, were the only item that could offer testimony on what men and women can accomplish when free to try, then those with little faith would have a fair case. However, there is testimony galore; it's all about us and on every hand. Mail delivery is exceedingly simple when compared, for instance, to the making of an automobile or a calculating machine or a grain combine or a milling machine or to tens of thousands of other things. Delivery? Why, in this area where men have been left free to try, they deliver the human voice around the world in less than one second; they deliver an event visually and in motion to any person's home when it is happening; they deliver 150 passengers from Seattle to Baltimore in less than four hours; they deliver gas from Texas to one's range or furnace in New York at unbelievably low rates and without subsidy; they deliver each four pounds of oil from the Persian Gulf to our Eastern Seaboard—halfway around the world—for less money than the government charges for delivering a one-ounce letter across the street!

RP.28

The lesson I have to teach is this: Leave all creative energies uninhibited. Merely organize society to act in harmony with this lesson. Let society's legal apparatus remove all obstacles the best it can. Permit these creative know-hows freely to flow. Have faith that free men and women will respond to the Invisible Hand. This faith will be confirmed. I, Pencil, seemingly simple though I am, offer the miracle of my creation as testimony that this is a practical faith, as practical as the sun, the rain, a cedar tree, the good earth.

RP.29

Leonard E. Read (1898-1983) founded FEE in 1946 and served as its president until his death.

"I, Pencil," his most famous essay, was first published in the December 1958 issue of The Freeman. Although a few of the manufacturing details and place names have changed over the past forty years, the principles are unchanged.
* My official name is "Mongol 482." My many ingredients are assembled, fabricated, and finished by Eberhard Faber Pencil Company.
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