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Critique vs. Criticism: How to Write a Good Critique, with Examples

by Daniel Rodrigues-Martin

Understanding critique vs. criticism

We all assign merit to the information we experience daily. We “judge” what we hear on the news. We “evaluate” a university lecture. We “like” or “dislike” a movie, a meal, a photo, a story. We’re all critics.

Some writer-readers struggle with this point, especially if they are young to writing and editing. Sitting in a judgment of another writer’s work often feels distasteful, and doing so may conjure negative memories of when we were misunderstood or dismissed by others.

Conversely, we might be willing to share our opinions with other writers while struggling with our competence. We can’t seem to say anything constructive. If we’re critiquing on Scribophile, we may feel that we are wasting one of the author’s coveted “spotlight” critiques.

Having used Scribophile on-and-off since 2009, I’ve seen countless readers qualify their commentary on my own work (“I don’t read your genre,” “I haven’t read your previous chapters,” “I’m not good with grammar,” etc.) and I’ve seen even more cry woe on the forums about how they can’t critique because they’re not experienced enough, not educated enough, or not talented enough. Others decry the very sort of criticism writers’ groups and workshop sites like Scribophile foster, suggesting that the perfunctory nature of such criticism is ultimately more harmful than helpful.

Scribophile as a community thrives on the principle of serious commitment to serious writing, and the foundation of that commitment is reading and responding to others’ work. If you want to explore some elements helpful to improving your critiquing skills, I invite you to get yourself some hot caffeine, strap on your thinking cap, and read on.

How to write a great critique in 3 steps

Listed here are some ideas I’ve found helpful for approaching others’ work; these tips are about your mindset as a critic. These ideas are by no means exhaustive. The best teacher is experience, and I encourage all writers to reflect on the ways in which they approach others’ work as well as how they can best contribute to the growth of others on and off of Scribophile.

1. If you’re genuine, you’ll be constructive

Being constructive means coming to the critique with the ultimate goal of helping the writer improve. It means always criticizing with good intentions for the writer. It does not equate to coddling—being so nice you’ll never say a hard thing—nor does it equate to browbeating—being so hard you’ll never say a nice thing.

Being dishonest or refusing to offer valid criticism where you’re able is a disservice to the writer. Don’t shy away from honesty. Few things are more constructive than hard truths delivered by critics who genuinely want to help and who tailor their criticism with an attitude of genuine interest.

As you interact with works on Scribophile or elsewhere, remember to always approach the task of criticism with a desire to be genuinely helpful. If your criticism is built on this foundation, your commentary will be constructive regardless of your competence and experience.

2. No jerks

As for literary criticism in general: I have long felt that any reviewer who expresses rage and loathing for a novel or a play or a poem is preposterous. He or she is like a person who has put on full armor and attacked a hot fudge sundae or a banana split. —Kurt Vonnegut

Few things will more quickly deflate a writer than unnecessarily harsh criticism. Being honest and being brutal are not the same thing. Critics must learn to express hard truths without coddling and without being jerks.

Even rude people can be good writers with valuable insights into the craft. The problem is that if you express valid insights obnoxiously, the author won’t care. In order for people to listen, they must feel that the person criticizing them has their best interest in mind, and being harsh doesn’t communicate your best interest.

In my earliest days writing, I received some negative criticism from a writer who decided to berate me for penning a bad phrase rather than explaining to me why the phrase didn’t work. Because he was rude, I insulated myself to his criticism. Years later, I reviewed the work and realized his criticism was valid. The problem was not the content of his criticism, but its malicious delivery. Had he come to my work with the desire to be genuinely helpful, I would have listened to what he had to say, and I might even have gained some enlightenment during a formative time in my writing career. The critic did me doubly wrong not only by being obnoxious, but by retarding my growth as a writer.

Unnecessarily harsh criticism is a sign of literary and personal immaturity. Don’t be a jerk.

3. Don’t be too timid

Flattering friends corrupt. —St. Augustine

Every writer likes to be praised, especially by those not obligated to praise them due to marital status or having given birth to them. But depthless praise can be just as damaging as heartless criticism. The reason for this is that it offers no real commentary on the work.

Refusing to offer criticism where it’s needed is one of the greatest disservices you as a critic can do for other writers. Some critics may fret that their criticism might be too discouraging if fully disclosed. Critics must contend with the reality that writing is art, people have opinions about art, and those opinions are not always going to be eruptions of praise. There is no safer environment to honestly and succinctly point out problem areas in a piece of writing than a forum designed for that very purpose.

None of this is to say that you shouldn’t commend a piece of work if it truly is fantastic or that you should not highlight the gems within a work. Again: constructive criticism is honest criticism. If a work is so well-crafted in your eyes that nothing worse than grammatical hiccups are present, tell the writer. They deserve to know they’ve done a fine job. Sometimes people genuinely deserve a “well done.” Don’t skimp on encouragement where it can be authentically offered. Even if a piece is messy, do your best to find a few strong points to highlight. It will express your best interest—especially if you had a lot of hard things to say.

The difference between a critique vs. criticism is whether it’s constructive

Be constructive , meaning, have the best intentions for helping the writer. This may mean telling hard truths. If hard truths must be told, do so respectfully. If praise is deserved, offer it. Highlight the strong points of a piece—even if they are far outweighed by the negative points. Be genuine in your motivations, and genuine action will follow.

Considering authorial intent while critique writing

This section concerns authorial intent and has as its purpose the critic’s growth as an interpreter of that intent. This section is not so much about judging an author’s intent as it’s about being aware of that intent and factoring that awareness into your commentary.

1. Context is king

It is important to appreciate the amount of subjectivity and pre-understanding all readers and listeners bring to the process of interpreting acts of human communication. But unless a speaker or author can retain the right to correct someone’s interpretation by saying ‘but that’s not what I meant’ or ‘that’s not even consistent with what I meant,’ all human communication will quickly break down. —Craig L. Blomberg

While interpreters are always within their rights to read whatever they want however they want to, what they are not at liberty to decide is authorial intent —what the author desired the audience to receive from their work.

As a reader and a critic, you must be careful to understand an author’s work on their own terms while also interpreting those words. There is a substantial difference between, “This is how I’m hearing what you’re saying,” and, “This is what I say your words mean.” Don’t presume to tell an author what their work is supposed to mean, but do tell them how you’re interpreting what they’ve written.

A work-in-progress can suffer from a variety of ailments. Contextual questions are not cut-and-dry like questions of syntax, grammar, or, to a degree, plotting. Questions of context have to do with the interaction of author intent and reader interpretation. They’re murky waters to navigate because you as the reader have to exercise a bit of telepathy; you have to try and get inside the author’s head, ultimately “What is the author trying to convey with this sentence, this piece? Who is this piece for, and will it successfully communicate with that target audience? Is it clear that there is a target audience?”

Some authors are great at genre pieces; they know all the chords to strike, they know what the tone of the piece should be, the kinds of characters who should appear. Other authors can completely muck it up. They’ll write a romance piece that reads like a technical manual or a flowery memoir with a tangle of dead-ending tangents. It’s not always easy and natural for new critics to explain why something does or doesn’t work, but innately, we know. When those moments come up, let the author know.

2. The unintended/unspoken

Asking the question, “Is that really what you meant?” isn’t always bad. All of us have been misunderstood. Sometimes the results are humorous, but other times, we’re grateful for the opportunity to correct misunderstandings.

If in your criticism you find yourself questioning the use of a word or phrase, or even of a character, idea, or plot point, it’s advisable to bring such questions to the writer’s attention. It may just be you, but it may not just be you. Unless the writer has a philosophical axe to grind, they probably mean to communicate clearly, and it should at least be made known that they may have botched it up.

Conversely, there are instances where things left unwritten speak volumes. Perhaps a character “falls off the radar” in mid-scene, and it leaves you scratching your head? It may be appropriate to point out confusing instances of the unwritten for the author’s consideration.

Because my own novel employs many neologisms, critics jumping in mid-story often highlight those neologisms to make sure I’m using them as intended. While it can get tedious to say to myself, “Yes, that is what it means,” I am always thankful for keen eyes. This is the kind of sharp, considerate criticism each of us should aim for and be thankful for if we receive it.

3. Accounting for genre and intended audience

A genre is “A category of artistic composition, as in music or literature, marked by a distinctive style, form, or content.” When reading an author’s work, it’s crucial to take into account its genre and intended audience. If you’re even-handed in your critiquing, you’ll at some point be reading a story in a genre you might not otherwise touch, and while you might wish Twilight had been a one-off rather than a worldwide phenomenon, it’s inappropriate to harshly judge an author’s work simply because you don’t like their sort of story.

Consider the question of author intent and how that intent will resonate with an intended (or unintended!) audience. Sometimes, you must ignore whether or not a story resonates with you personally. Instead, ask yourself if it would resonate with your vampire-novel-loving daughter. Are the story, plot devices, characters, and verbiage appropriate for the intended audience? If yes, why or why not? If no, why or why not? Your personal tastes should not dictate the quality of your criticism. Train yourself to offer valuable insight even on writing you’d never pay money to read.

Remember these principles when reading work outside your sphere of interest. Being constructive doesn’t mean you have to love or even like the work. If something is written well, it’s written well—prejudices aside. If you’re truly unable to be objective, you would do the writer a better service by moving on.

4. Don’t pretend to be a non-writer

A film director watches other films differently than a moviegoer. A chef tastes a meal differently than the average person. As a writer, you necessarily see stories differently than non-writers. That’s not a bad thing.

We can be helpful to other writers by sharing our gut reactions no differently than an unversed beta reader. On the other hand, writers should be able to explain with more clarity than the average person why something does or doesn’t work in a story. A writer’s insight is of a different quality than a non-initiate’s insight. Both are needed for success, because if a writer one day moves on to pitch their work to those in the literary establishment, that work will not be judged by average readers until after it has survived the professional gauntlet.

All readers have the ability to share their gut reactions, but not all readers can slip on their “writer glasses” and offer critique on that level. Good critiques provide both types of insight, so as a fellow writer, bring your full experience to bear in helping others embarking on the same journey.

Understanding intent is part of a good critique

As best as you’re able, judge an author’s work on the basis of their intent—this includes noting instances of the unintended! In consideration of genre, judge the work not on the basis of your interest in the genre, but on the author’s skill at writing a piece that strikes the proper chords within the genre they’ve chosen. It’s not possible for you to read as a reader only, so don’t pretend to be something you’re not.

What makes a good critique?

A good writer may come out of any intellectual discipline at all. Every art and science gives the writer its own special ways of seeing, gives him experience with interesting people, and can provide him with means of making a living… It is not necessary—or perhaps even advisable—that the young writer major in literature. —John Gardner

Contrary to the belief of a lot of new writers, learning to write and critique doesn’t require sixty-four credits of college English or an MFA. Plenty of writers and editors don’t hold English or Creative Writing degrees, and while I in no way wish to discourage those who choose to improve their writing and reviewing by taking the high road of formal education, neither do I wish to discourage the 98% of you reading this who haven’t and won’t be able to front the money and time for such an education.

The ability to forge valid criticism is an applied skill learned through a combination of technical knowledge and experience. We’re fortunate to live in an age where vast quantities of technical information are available at our fingertips. Contemporary writers are able to write informed literature like never before. So, too, are critics able to fact-check writers like never before.

Just as you’re willing to fact-check history or science before you include something in your story, it doesn’t hurt to do that for those you critique. Granted, they should do that themselves, but maybe they’re writing a genre you write, or maybe they’re writing about your field of work or interest? Being educated or experienced in any field will enrich not only your writing, but your critiquing. If you’re a fry cook, your ability to write or critique a scene in a modern commercial kitchen is better than that of someone who hasn’t had that experience. Because you know what it’s like to really work in a kitchen, you can speak to the authenticity of any such scene, and you can speak to the authenticity of the kinds of people who work in commercial kitchens. Your grammar may not be the best, but you still have something valuable to contribute.

Great writers are keen observers of life, and their writing both informs and is by informed by life. Bring the authenticity of your life to your writing and your criticism. You have perspectives, knowledge, and experiences others don’t. As you read and respond to authors, employ the skills and knowledge you already possess. Put your formal and informal education and your life experience to work. This is what it means to “write what you know” and, in our case, “critique what you know.”

Immerse yourself in all sorts of stories to get better at critiquing

One of the cardinal “writing for dummies” rules is that if you want to write well, you need to read a lot. I don’t doubt the validity of this statement, but books are only one medium of storytelling among many. My contention is that by immersing yourself in movies, television, and other storytelling mediums, you can learn about dialogue, plot, characterization, and all the other aspects of “storytelling” that appear no matter what medium you choose.

If you want to understand what makes a story great, seek out great stories. Immerse yourself in them. Though you may not be able to verbalize it, your innate understanding of what makes a narrative work will grow. This will improve both your writing and your critiquing.

Steal critiquing techniques from smart people–yourself included

Consider the critiques that have been most helpful to you. Why did they work? Reread them if you must. Then find a way to adapt the good things from those critiques into your own criticism.

Consider the critiques you’ve shared that have been helpful to others. What stood out to the author? You may even consider asking an author for feedback on your critique. Ask how you could have been more helpful.

Critiquing is a skill you can improve over time just like writing itself. But like writing, it takes practice and discipline. Make it easier on yourself by nurturing what works.

A reading list to improving your critique writing skills

There are many solid books on writing that will not only improve your writing, but your critical reading skills. Rather than provide you a hundred sources, here are a few I’ve been able to get my claws on, have dug into, and can personally vouch for:

Good Prose , by Tracy Kidder & Richard Todd. The writer-editor combo of The Atlantic share their wisdom through a tightly-edited, insightful, and entertaining survey of nonfiction writing that has plenty of benefit for writers of all stripes. The book’s section on “proportion and order” in narrative has revolutionized my own thinking about how stories should be structured.

How to Write Science Fiction and Fantasy , by Orson Scott Card. A good resource if you write these genres, Card provides practical advice on publishing, agents, etc., in addition to familiarizing the reader with dos and don’ts for writing Sci-Fi/Fantasy, including some technical questions. The book’s a bit dated by now—especially the parts about the publishing world—but there are some nuggets of timeless truth within.

On Becoming a Novelist , by John Gardner. Despite the Modernistic tendency of abusing the pronoun “he,” this may be the most formative thing I’ve read about novel writing. It’s slim, readable, practical, and comprehensive.

On Writing , by Stephen King. Something of an autobiography penned by one of the most successful authors of all time, this book is snappy, humorous, entertaining, and more than a little instructive for anyone looking to write and read better. King reminds his fellow writers that “Life isn’t a support system for art; it’s the other way around.”

Story , by Robert McKee. Considered by many to be the “screenwriter’s bible,” Story belongs in the library of every serious writer whether or not they ever aspire to the silver screen. McKee is a master of properly balancing a plot to satisfy an audience, and all writers should glean from his wisdom.

The Modern Library Writer’s Workshop , by Stephen Koch. Koch flexes his student’s muscles by providing copious citations from the masters who have graced the past few centuries of literature. The author fades into the background at points while readers are treated to the musings and experiences of Dostoevsky, Flannery O’Connor, Hemingway, and others.

The Writer’s Journey: Mythic Structure for Writers , by Christopher Vogler. Vogler is one of the most proficient living writers of the entertainment industry. Working primarily from the theses of the late cultural anthropologist, Joseph Campbell, Vogler illustrates the plot devices and character tropes that underlie the world’s oldest stories. Recommended for new writers of the speculative fiction genres and those who wish to write epics.

The value of criticism and critiquing

The arts too can be taught, up to a point; but except for certain matters of technique, one does not learn the arts, one simply catches on. —John Gardner

The value of criticism is twofold: First and most obviously, it helps others. Second, and maybe not as apparent if you’re new to critiquing: It improves your own writing.

As you examine the work of others, you’ll be able to see what works and what doesn’t work. You will begin to notice patterns as you edit your own writing, and you’ll begin to sift out the problem areas. It’s difficult to judge your own work objectively. Doing it for others helps you get a clear head and recognize the ways in which you do the very things you criticize others for doing.

This article hasn’t had as a goal the outlining of a criticism “process.” The reason for this is that I could no more outline a criticism process than I could outline a fiction writing process. There is no single monolithic “right way to do it” that will unequivocally work for everyone. Herein are general guidelines and considerations that I’ve found helpful over the years and that others have appreciated. If you write critiques constructively, taking consideration of what the author is trying to do, and if you do so authentically, drawing on your experiences and knowledge, you’re on the right track for writing great critiques. The details of how exactly you accomplish that will become clearer to you as you engage in criticism. As in any discipline: Seek feedback and keep going.

Appendix I: “Line edits” and “critiques”

“Line edits” and “critiques” are not the same thing. These two types of reader responses address different issues, and in order to ensure that you receive the kind of criticism you’re seeking, you need to know what you’re displaying.

A “line edit” is a thorough, line-by-line examination of a manuscript. A good line edit requires an editor with a keen eye for detail and a working knowledge of contemporary grammar, syntax, and idiomatic English. The purpose of a line edit is to make a manuscript as readable as possible by removing technical errors. Typically, works that receive line edits receive them because they’re in need of them.

A “critique” is an in-depth review, touching on characterization, plot, theme, scene structure, poetry of language, and other related factors. Notice how I didn’t list anything about spelling or proper comma usage? It’s because that’s not critiquing; that’s editing. Typically, works that receive criticism as described here are free or mostly free of errors that distract readers from the story.

No one is perfect, and one of the best tools at our disposal on Scribophile is the inline critique option. Having never read nor submitted a flawless piece of writing for review, I can tell you that no one should be ashamed to receive a line edit. There are many sharp eyes and sharp minds browsing Scribophile, and even the best writer’s eyes glaze over after so many hours of staring at a white screen.

That said, part of what is absolutely necessary to receive genuine criticism as described above is a readable text. An unreadable text has never, in my experience, provided foundation for a fantastic piece of writing. Messy prose screams “messy story.” If you want criticism of story, your text must be as clean as possible.

If you’re willing to admit that your mastery of the technicalities of writing is not the sharpest, by all means, employ the knowledge and expertise of those on this site who do; it’s a wonderful resource. Readers can’t truly resonate with your story until you weave a piece of art that makes them forget they’re experiencing a piece of art. When you’re able to achieve this, you’ve removed the hurdles preventing your reader from authentically engaging with the story you’ve created. It’s at this stage in your writing that you can consistently receive deep criticism.

This is, of course, not to say that imperfect prose can’t be critiqued. Part of writing great critiques is learning to spot the gems in the story and encouraging the writer to press onward in spite of any shortcomings. If you’re honest and genuine, this won’t be a problem.

If all else fails, list at the top of your submitted piece the sort of critique you’re seeking by highlighting specific questions. “I’d love to know how you reacted when X happened,” for example. This will encourage readers to engage with the sorts of questions you’re asking.

Appendix II: The Benefits and Limits of Critique Groups

If you understand how to best leverage critique groups, they will be helpful and formative to your growth. As written above, critiquing others helps you grow; but there is more. The benefits of critique groups are threefold.

First, broad exposure. Want to know what people outside of your social circle will think of your work? A critique group will expose your work to people of different backgrounds. You can learn how a teen writer with big dreams or a Native American ex-botanist writing a memoir in retirement reacts to your story. This is the type of demographic insight you’d pay good money for when it comes time to sell your book. Even in small chunks, it’s valuable to know how different people experience your work.

Second, many eyes forge sharper prose. If three different people all trip over the same thing in your text, the problem is most likely not those three people, but your text. Especially if your text is hot off the press, you can catch errors early, and writers tend to be sharper with these sorts of things than the general population. Go look up the cost of a professional manuscript editor in your area, and you’ll be glad for many eyes combing over your writing.

Third, and most importantly: networking. The goal of sites like Scribophile and in-person critique groups should be to develop a network of people who will read the entirety of your work. Don’t get angry at forks for not being spoons—a reader jumping in mid-story will never give you the same level of commentary as someone who’s been reading since chapter one. If you’re ready for that level of reading, you need others to agree to read the book from start to finish. Use critique groups and sites like Scribophile to build relationships. Be attentive to others and share good critiques with them. As your relationships deepen, you’ll eventually find yourself with a list of contacts to trade with. But this requires you to be the kind of person people want reading their work. Behave professionally, and over time, you’ll find yourself surrounded by likeminded individuals who will give you the kind of meaty, informed commentary you need. The rule of thumb with critique groups and workshop websites is: You get out what you put in to them.

Appendix III: Still confused?

If you have questions I have failed to address in this article, I encourage you to contact me privately here on Scribophile or to reach out on social media. I’m happy to help.

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Chapter 8: Being Critical

8.1 What Makes a Critique a Critique?

Learning Objectives

• Define what it means to critique
• Explain the differences between a critique and other essay forms

This section will introduce you to another essay form instructors often ask their students to produce: the critique.

A critique is a written work critically analyzing or evaluating another piece of writing; also known as a review or critical response.

What Is a Critique?

When you see the word critique , the first thing you may think of is to criticize . In actuality, critiques do not need to look only at the negative aspects of a source; they can also focus on the positive components or even have a mix of the positive and negative elements. They are critical response papers analyzing and evaluating an original source , such as the academic journal article you are being asked to use for this assignment.

Self-Practice Exercise 8.1

H5P: Reading Critical Response

Read the following short critique, and then come up with a list of elements you believe make this a critique as opposed to an expository paper.

Vetter and Perlstein’s work on terrorism and its future is an excellent basis for evaluating views and attitudes to terrorism before the tragic events of 9/11. Written in 1991, the book provides an objective (but more theoretical) view on what terrorism is, how it can be categorized, and to what ideology it can be linked. Perspectives on Terrorism is a multifaceted review of numerous factors that impact and influence the global development of terrorism; those studying sociology or criminal justice might find ample information regarding the ideological roots and typology of terrorism as a phenomenon and as a specific type of violent ideology that has gradually turned into a dominant force of political change.

Vetter and Perlstein (1991) begin their work with the words “it has almost become pro forma for writers on terrorism to begin by pointing out how hard it is to define the term terrorism.” However, the authors do not waste their time trying to define what terrorism is; rather, they are trying to look at terrorism through the prism of its separate elements, and objectively evaluate the concept of public acceptability of terrorism as a notion. Trying to answer the two critical questions “why surrogate the war?” and “who sponsors terrorism?” Vetter and Perlstein (1991) evaluate terrorism as a unjustifiable method of violence for the sake of unachievable goals, tying the notion of terrorism to the notion of morality.

To define terrorism in its present form it is not enough to determine the roots and the consequences of particular terrorist act; nor is it enough to evaluate the roots and the social implications of particular behavioural characteristics beyond morality. On the contrary, it is essential to tie terrorism to particular political conditions, in which these terrorist acts take place. In other words, whether the specific political act is terrorist or non-terrorist depends on the thorough examination of the social factors beyond morality and law. In this context, even without an opportunity to find the most relevant definition of terrorism, the authors thoroughly analyze the most important factors and sociological perspectives of terrorism, including the notion of threat, violence, publicity, and fear.

Typology of terrorism is the integral component of our current understanding of what terrorism is, what form it may take, and how we can prepare ourselves to facing the challenges of terrorist threats. Vetter and Perlstein (1991) state that “finding similarities and differences among objects and events is the first step toward determining their composition, functions, and causes.” Trying to evaluate the usefulness of various theoretical perspectives in terrorism, the authors offer a detailed review of psychological, sociological, and political elements that form several different typologies of terrorism. For example, Vetter and Perlstein (1991) refer to the psychiatrist Frederick Hacker, who classifies terrorists into crazies, criminals, and crusaders. Later throughout the book, Vetter and Perlstein provide a detailed analysis of both the criminal and the crazy types of terrorists, paying special attention to who crusaders are and what role they play in the development and expansion of contemporary terrorist ideology. Vetter and Perlstein recognize that it is almost impossible to encounter an ideal type of terrorist, but the basic knowledge of terrorist typology may shed the light onto the motivation and psychological mechanisms that push criminals (and particularly crusaders) to committing the acts of political violence.

Perspectives on Terrorism pays special attention to the politics of terrorism, and the role, which ideology plays in the development of terrorist attitudes in society. “Violence or terrorism can be used both by those who seek to change or destroy the existing government or social order and those who seek to maintain the status quo” (Vetter & Perlstein, 1991). In other words, the authors suggest that political ideology is integrally linked to the notion of terrorism. With ideology being the central element of political change, it necessarily impacts the quality of the political authority within the state; as a result, the image of terrorism is gradually transformed into a critical triangle with political authority, power, and violence at its ends. In their book, Vetter and Perlstein (1991) use this triangle as the basis for analyzing the political assumptions, which are usually made in terms of terrorism, as well as the extent to which political authority may make violence (and as a result, terrorism) legally permissible. The long sociological theme of terrorism that is stretched from the very beginning to the very end of the book makes it particularly useful to those who seek the roots of terrorism in the distorted political ideology and blame the state as the source and the reason of terrorist violence.

Vetter, H.J. & Perlstein, G.R. (1991). Perspectives on terrorism (Contemporary issues in crime and justice). Pacific Grove, CA, USA: Brooks/Cole Publishing Company.

Taken from: http://www.custom-essays.org/examples/Perspectives_on_Terrorism_Essay_Vetter__Perlstein.html

List three to five elements you think make this a critique.

How a Critique Is Different

A critique is different from an expository essay which is, as you have learned, a discussion revolving around a topic with multiple sources to support the discussion points. As you can see in Self – Practice Exercise 8.1 , depending on the type of critique you are writing, your reference page could include one source only. However, as you may discuss topical ideas within the original source, you may also want to include secondary sources to which you can compare and contrast the original source’s ideas, but you need to always connect your discussion points back to the original source. Figure 8.1: Critiquing v ersus Other Essay Forms shows visual representations of what a critique structure could look in comparison to another essay, such as one that is expository or persuasive in purpose.

If you look at the mind map for the critique, you can see how all of the discussion points stem from and relate back to the original article and how all of the discussion points can be interconnected. Also, the bubble labelled Secondary Sources/Support shows you can integrate secondary sources to compare and contrast when discussing either rhetorical or idea points. In the second diagram, you can see that the supporting ideas relate to the central topic, but they are extensions of the topic each with their own supporting forms of evidence. There is less emphasis placed on synthesis of ideas, although this is something you can still do when composing this type of essay.

The Purpose of Critiquing

In a post-secondary environment, your instructors will expect you to demonstrate critical thinking skills that go beyond simply taking another person’s ideas and spitting out facts. They will want you to show your ability to assess and analyze any type of information you use; they will also want to see that you have used sources to develop ideas of your own. Critiquing, or critical analysis, demonstrates you are able to connect ideas, arrive at your own conclusions, and develop new directions for discussion. You are also showing you have strong background knowledge on the topic in order to provide feedback on another person’s discussion on the issue.

Critical analysis appears in many forms in the academic world. It is present when you select appropriate sources for your support; you practise it when you choose what information from those sources to include as your evidence; you demonstrate it when you start breaking down your topic to develop discussion points. Very importantly, you also use critical analysis or thinking when you synthesize, or blend, your ideas with those of experts. This means you go beyond a statement of facts and take a stance on a topic. In this case of a critique, you not only state your view on an idea or issue but also on one core source of information on that topic: you insert your ideas into the text’s conversation.

Elements of a Critique

Often people go online for to read reviews of services or products. They sometimes make personal choices based on those reviews, such as what movie to go to or which restaurant to eat at. When you ask for a recommendation, the person you are asking will usually give you a brief summary of the experience then break his or her opinion down into smaller aspects—good and bad. For example, imagine you want to visit a new restaurant, and you ask your friend to recommend a place. Here is a sample response:

There is an amazing Japanese restaurant called Mega Sushi at the corner of Main and 12th. The food, atmosphere, and service are great. The food is always excellent, and they have a lot of original creations or spins on traditional Japanese food, but it still tastes authentic. The ingredients are always incredibly fresh, and you never have to worry about ordering the sashimi. The decor is also very authentic and classic, and the entire place is incredibly clean.

The service is generally very good—they even bring you a free sample roll while you wait for your food—but it can be a little slow during the dinner rush because it is such a popular place. Also, the prices are a little high because an average roll costs $15, but for the amazing food you get, it is totally worth it! I love this place!

When you break this example into sections, you can see the first and second sentences give the reviewer’s general opinion of the restaurant; they also summarize the main components the reviewer will cover. The review is then broken into smaller categories or points. Notice that not all the points covered are positive: while the food and atmosphere are good, the service has both positive and negative aspects but is overall good. Also, the prices are high, but the writer states that people who eat there get good value for their money. Providing a generalized description first, the reviewer introduced the topic to the audience; she then analyzed individual aspects or components of the experience with examples to help convince the audience of her perspective. Not everyone may have the same positive experience, of course. What if it was someone’s first time at this particular restaurant, and she arrived during the dinner rush feeling very hungry and had to wait a long time for a table? Not knowing how good the food is and that it is worth the wait, she may just leave, so her general impression of the restaurant would probably not be favourable. Whether the experience would be positive or negative would depend on an individual’s personal experience and situation. The same is true for any critique. No two people will have exactly the same response to a source because of who they are, the time, and their prior experiences. When critiquing, you are responding to anything that sparks a response in you when you are reading a source. When reading your article, pay close attention to any time you have to reread a sentence or paragraph. Make note of this; at the time you may not know why you have an issue with that section. Just realize that there was a point where you had to stop and make a notation of some sort on the paper. Once you have finished reading, you can go back and think about what the issue actually was. Maybe the vocabulary was difficult; maybe the author’s grammar was awkward and confusing; maybe the ideas did not make sense how they were organized; maybe you completely disagreed with the idea the author presented. Also, maybe something you read really sparked your interest, and you have the same opinion as the author, or perhaps the vocabulary was academic but not overly challenging where you would need to use a dictionary (the guiding questions for each critique form provided below will help you with this). All of these responses are valid and are things you can write about in your critique. Any critique, no matter if it is of a book, an article, or a movie, needs to contain the following elements:

• Example: In Smith’s (2009) article, he effectively argues his case for the reinstatement of capital punishment in Canada.
• This would be the same as if you were writing a summary of any source you read.
• You will decide on these points based on your reactions and personal preferences using the guiding questions for each of the forms below as suggestions.

Writing for Success - 1st Canadian H5P Edition Copyright © 2021 by Tara Horkoff is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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• Spartanburg Community College Library
• SCC Research Guides
• Writing a Critique

When you are writing a critique, you are really evaluating and analyzing  a source. In a critique, you are highlighting the strengths and the weaknesses of a work and discussing how effectively a source made their point.

In your critique, while you should give some of your own opinions about the source, you want to back up your opinion with valid reasons. Try to be objective, fair, and sincere any time you are writing a critique.

Difference between Critiquing and Criticizing

There is a difference between writing a critique of a source and criticizing a source.

A critique is an analysis of a work. Critiques are based on knowledge of a topic and are not based solely of your opinion about a work. Critiques are focused on the effectiveness of a work. 

Criticizing a work has you focused on your personal opinion of if you liked or disliked a source and does not consider any objective knowledge about a source.

Things to Consider when Writing a Critique

You can write a critique on various types of sources (events, books, presentations, films, etc.). Depending on what you are critiquing, you may want to focus on different elements. Below is a list of possible elements you might include in your critique:

• Author's writing style
• Speaker's presentation style
• Speaker's stage presence
• Speaker's responses to a Question and Answer portion
• Design of event or event space
• Information or facts given in a source
• Quality of content in the source
• How did the source maintain your interest
• Visual aids
• Bias of source
• Social or cultural implications of a source
• Film techniques
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Writing Critiques

Writing a critique involves more than pointing out mistakes. It involves conducting a systematic analysis of a scholarly article or book and then writing a fair and reasonable description of its strengths and weaknesses. Several scholarly journals have published guides for critiquing other people’s work in their academic area. Search for a  “manuscript reviewer guide” in your own discipline to guide your analysis of the content. Use this handout as an orientation to the audience and purpose of different types of critiques and to the linguistic strategies appropriate to all of them.

Types of critique

Article or book review assignment in an academic class.

Text: Article or book that has already been published Audience: Professors Purpose:

• to demonstrate your skills for close reading and analysis
• to show that you understand key concepts in your field
• to learn how to review a manuscript for your future professional work

Published book review

Text: Book that has already been published Audience: Disciplinary colleagues Purpose:

• to describe the book’s contents
• to summarize the book’s strengths and weaknesses
• to provide a reliable recommendation to read (or not read) the book

Manuscript review

Text: Manuscript that has been submitted but has not been published yet Audience: Journal editor and manuscript authors Purpose:

• to provide the editor with an evaluation of the manuscript
• to recommend to the editor that the article be published, revised, or rejected
• to provide the authors with constructive feedback and reasonable suggestions for revision

Language strategies for critiquing

For each type of critique, it’s important to state your praise, criticism, and suggestions politely, but with the appropriate level of strength. The following language structures should help you achieve this challenging task.

Offering Praise and Criticism

A strategy called “hedging” will help you express praise or criticism with varying levels of strength. It will also help you express varying levels of certainty in your own assertions. Grammatical structures used for hedging include:

Modal verbs Using modal verbs (could, can, may, might, etc.) allows you to soften an absolute statement. Compare:

This text is inappropriate for graduate students who are new to the field. This text may be inappropriate for graduate students who are new to the field.

Qualifying adjectives and adverbs Using qualifying adjectives and adverbs (possible, likely, possibly, somewhat, etc.) allows you to introduce a level of probability into your comments. Compare:

Readers will find the theoretical model difficult to understand. Some readers will find the theoretical model difficult to understand. Some readers will probably find the theoretical model somewhat difficult to understand completely.

Note: You can see from the last example that too many qualifiers makes the idea sound undesirably weak.

Tentative verbs Using tentative verbs (seems, indicates, suggests, etc.) also allows you to soften an absolute statement. Compare:

This omission shows that the authors are not aware of the current literature. This omission indicates that the authors are not aware of the current literature. This omission seems to suggest that the authors are not aware of the current literature.

Offering suggestions

Whether you are critiquing a published or unpublished text, you are expected to point out problems and suggest solutions. If you are critiquing an unpublished manuscript, the author can use your suggestions to revise. Your suggestions have the potential to become real actions. If you are critiquing a published text, the author cannot revise, so your suggestions are purely hypothetical. These two situations require slightly different grammar.

Unpublished manuscripts: “would be X if they did Y” Reviewers commonly point out weakness by pointing toward improvement. For instance, if the problem is “unclear methodology,” reviewers may write that “the methodology would be more clear if …” plus a suggestion. If the author can use the suggestions to revise, the grammar is “X would be better if the authors did Y” (would be + simple past suggestion).

The tables would be clearer if the authors highlighted the key results. The discussion would be more persuasive if the authors accounted for the discrepancies in the data.

Published manuscripts: “would have been X if they had done Y” If the authors cannot revise based on your suggestions, use the past unreal conditional form “X would have been better if the authors had done Y” (would have been + past perfect suggestion).

The tables would have been clearer if the authors had highlighted key results. The discussion would have been more persuasive if the authors had accounted for discrepancies in the data.

Note: For more information on conditional structures, see our Conditionals handout .

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• The four main types of essay | Quick guide with examples

The Four Main Types of Essay | Quick Guide with Examples

Published on September 4, 2020 by Jack Caulfield . Revised on July 23, 2023.

An essay is a focused piece of writing designed to inform or persuade. There are many different types of essay, but they are often defined in four categories: argumentative, expository, narrative, and descriptive essays.

Argumentative and expository essays are focused on conveying information and making clear points, while narrative and descriptive essays are about exercising creativity and writing in an interesting way. At university level, argumentative essays are the most common type. 

In high school and college, you will also often have to write textual analysis essays, which test your skills in close reading and interpretation.

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Table of contents

Argumentative essays, expository essays, narrative essays, descriptive essays, textual analysis essays, other interesting articles, frequently asked questions about types of essays.

An argumentative essay presents an extended, evidence-based argument. It requires a strong thesis statement —a clearly defined stance on your topic. Your aim is to convince the reader of your thesis using evidence (such as quotations ) and analysis.

Argumentative essays test your ability to research and present your own position on a topic. This is the most common type of essay at college level—most papers you write will involve some kind of argumentation.

The essay is divided into an introduction, body, and conclusion:

• The introduction provides your topic and thesis statement
• The body presents your evidence and arguments
• The conclusion summarizes your argument and emphasizes its importance

The example below is a paragraph from the body of an argumentative essay about the effects of the internet on education. Mouse over it to learn more.

A common frustration for teachers is students’ use of Wikipedia as a source in their writing. Its prevalence among students is not exaggerated; a survey found that the vast majority of the students surveyed used Wikipedia (Head & Eisenberg, 2010). An article in The Guardian stresses a common objection to its use: “a reliance on Wikipedia can discourage students from engaging with genuine academic writing” (Coomer, 2013). Teachers are clearly not mistaken in viewing Wikipedia usage as ubiquitous among their students; but the claim that it discourages engagement with academic sources requires further investigation. This point is treated as self-evident by many teachers, but Wikipedia itself explicitly encourages students to look into other sources. Its articles often provide references to academic publications and include warning notes where citations are missing; the site’s own guidelines for research make clear that it should be used as a starting point, emphasizing that users should always “read the references and check whether they really do support what the article says” (“Wikipedia:Researching with Wikipedia,” 2020). Indeed, for many students, Wikipedia is their first encounter with the concepts of citation and referencing. The use of Wikipedia therefore has a positive side that merits deeper consideration than it often receives.

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An expository essay provides a clear, focused explanation of a topic. It doesn’t require an original argument, just a balanced and well-organized view of the topic.

Expository essays test your familiarity with a topic and your ability to organize and convey information. They are commonly assigned at high school or in exam questions at college level.

The introduction of an expository essay states your topic and provides some general background, the body presents the details, and the conclusion summarizes the information presented.

A typical body paragraph from an expository essay about the invention of the printing press is shown below. Mouse over it to learn more.

The invention of the printing press in 1440 changed this situation dramatically. Johannes Gutenberg, who had worked as a goldsmith, used his knowledge of metals in the design of the press. He made his type from an alloy of lead, tin, and antimony, whose durability allowed for the reliable production of high-quality books. This new technology allowed texts to be reproduced and disseminated on a much larger scale than was previously possible. The Gutenberg Bible appeared in the 1450s, and a large number of printing presses sprang up across the continent in the following decades. Gutenberg’s invention rapidly transformed cultural production in Europe; among other things, it would lead to the Protestant Reformation.

A narrative essay is one that tells a story. This is usually a story about a personal experience you had, but it may also be an imaginative exploration of something you have not experienced.

Narrative essays test your ability to build up a narrative in an engaging, well-structured way. They are much more personal and creative than other kinds of academic writing . Writing a personal statement for an application requires the same skills as a narrative essay.

A narrative essay isn’t strictly divided into introduction, body, and conclusion, but it should still begin by setting up the narrative and finish by expressing the point of the story—what you learned from your experience, or why it made an impression on you.

Mouse over the example below, a short narrative essay responding to the prompt “Write about an experience where you learned something about yourself,” to explore its structure.

Since elementary school, I have always favored subjects like science and math over the humanities. My instinct was always to think of these subjects as more solid and serious than classes like English. If there was no right answer, I thought, why bother? But recently I had an experience that taught me my academic interests are more flexible than I had thought: I took my first philosophy class.

Before I entered the classroom, I was skeptical. I waited outside with the other students and wondered what exactly philosophy would involve—I really had no idea. I imagined something pretty abstract: long, stilted conversations pondering the meaning of life. But what I got was something quite different.

A young man in jeans, Mr. Jones—“but you can call me Rob”—was far from the white-haired, buttoned-up old man I had half-expected. And rather than pulling us into pedantic arguments about obscure philosophical points, Rob engaged us on our level. To talk free will, we looked at our own choices. To talk ethics, we looked at dilemmas we had faced ourselves. By the end of class, I’d discovered that questions with no right answer can turn out to be the most interesting ones.

The experience has taught me to look at things a little more “philosophically”—and not just because it was a philosophy class! I learned that if I let go of my preconceptions, I can actually get a lot out of subjects I was previously dismissive of. The class taught me—in more ways than one—to look at things with an open mind.

A descriptive essay provides a detailed sensory description of something. Like narrative essays, they allow you to be more creative than most academic writing, but they are more tightly focused than narrative essays. You might describe a specific place or object, rather than telling a whole story.

Descriptive essays test your ability to use language creatively, making striking word choices to convey a memorable picture of what you’re describing.

A descriptive essay can be quite loosely structured, though it should usually begin by introducing the object of your description and end by drawing an overall picture of it. The important thing is to use careful word choices and figurative language to create an original description of your object.

Mouse over the example below, a response to the prompt “Describe a place you love to spend time in,” to learn more about descriptive essays.

On Sunday afternoons I like to spend my time in the garden behind my house. The garden is narrow but long, a corridor of green extending from the back of the house, and I sit on a lawn chair at the far end to read and relax. I am in my small peaceful paradise: the shade of the tree, the feel of the grass on my feet, the gentle activity of the fish in the pond beside me.

My cat crosses the garden nimbly and leaps onto the fence to survey it from above. From his perch he can watch over his little kingdom and keep an eye on the neighbours. He does this until the barking of next door’s dog scares him from his post and he bolts for the cat flap to govern from the safety of the kitchen.

With that, I am left alone with the fish, whose whole world is the pond by my feet. The fish explore the pond every day as if for the first time, prodding and inspecting every stone. I sometimes feel the same about sitting here in the garden; I know the place better than anyone, but whenever I return I still feel compelled to pay attention to all its details and novelties—a new bird perched in the tree, the growth of the grass, and the movement of the insects it shelters…

Sitting out in the garden, I feel serene. I feel at home. And yet I always feel there is more to discover. The bounds of my garden may be small, but there is a whole world contained within it, and it is one I will never get tired of inhabiting.

Though every essay type tests your writing skills, some essays also test your ability to read carefully and critically. In a textual analysis essay, you don’t just present information on a topic, but closely analyze a text to explain how it achieves certain effects.

Rhetorical analysis

A rhetorical analysis looks at a persuasive text (e.g. a speech, an essay, a political cartoon) in terms of the rhetorical devices it uses, and evaluates their effectiveness.

The goal is not to state whether you agree with the author’s argument but to look at how they have constructed it.

The introduction of a rhetorical analysis presents the text, some background information, and your thesis statement; the body comprises the analysis itself; and the conclusion wraps up your analysis of the text, emphasizing its relevance to broader concerns.

The example below is from a rhetorical analysis of Martin Luther King Jr.’s “I Have a Dream” speech . Mouse over it to learn more.

King’s speech is infused with prophetic language throughout. Even before the famous “dream” part of the speech, King’s language consistently strikes a prophetic tone. He refers to the Lincoln Memorial as a “hallowed spot” and speaks of rising “from the dark and desolate valley of segregation” to “make justice a reality for all of God’s children.” The assumption of this prophetic voice constitutes the text’s strongest ethical appeal; after linking himself with political figures like Lincoln and the Founding Fathers, King’s ethos adopts a distinctly religious tone, recalling Biblical prophets and preachers of change from across history. This adds significant force to his words; standing before an audience of hundreds of thousands, he states not just what the future should be, but what it will be: “The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.” This warning is almost apocalyptic in tone, though it concludes with the positive image of the “bright day of justice.” The power of King’s rhetoric thus stems not only from the pathos of his vision of a brighter future, but from the ethos of the prophetic voice he adopts in expressing this vision.

Literary analysis

A literary analysis essay presents a close reading of a work of literature—e.g. a poem or novel—to explore the choices made by the author and how they help to convey the text’s theme. It is not simply a book report or a review, but an in-depth interpretation of the text.

Literary analysis looks at things like setting, characters, themes, and figurative language. The goal is to closely analyze what the author conveys and how.

The introduction of a literary analysis essay presents the text and background, and provides your thesis statement; the body consists of close readings of the text with quotations and analysis in support of your argument; and the conclusion emphasizes what your approach tells us about the text.

Mouse over the example below, the introduction to a literary analysis essay on Frankenstein , to learn more.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, protagonist Victor Frankenstein is a stable representation of the callous ambition of modern science throughout the novel. This essay, however, argues that far from providing a stable image of the character, Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as. This essay begins by exploring the positive portrayal of Frankenstein in the first volume, then moves on to the creature’s perception of him, and finally discusses the third volume’s narrative shift toward viewing Frankenstein as the creature views him.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

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At high school and in composition classes at university, you’ll often be told to write a specific type of essay , but you might also just be given prompts.

Look for keywords in these prompts that suggest a certain approach: The word “explain” suggests you should write an expository essay , while the word “describe” implies a descriptive essay . An argumentative essay might be prompted with the word “assess” or “argue.”

The vast majority of essays written at university are some sort of argumentative essay . Almost all academic writing involves building up an argument, though other types of essay might be assigned in composition classes.

Essays can present arguments about all kinds of different topics. For example:

• In a literary analysis essay, you might make an argument for a specific interpretation of a text
• In a history essay, you might present an argument for the importance of a particular event
• In a politics essay, you might argue for the validity of a certain political theory

An argumentative essay tends to be a longer essay involving independent research, and aims to make an original argument about a topic. Its thesis statement makes a contentious claim that must be supported in an objective, evidence-based way.

An expository essay also aims to be objective, but it doesn’t have to make an original argument. Rather, it aims to explain something (e.g., a process or idea) in a clear, concise way. Expository essays are often shorter assignments and rely less on research.

The key difference is that a narrative essay is designed to tell a complete story, while a descriptive essay is meant to convey an intense description of a particular place, object, or concept.

Narrative and descriptive essays both allow you to write more personally and creatively than other kinds of essays , and similar writing skills can apply to both.

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• To find fault with: criticized the decision as unrealistic. .
• To judge the merits and faults of; analyze and evaluate.
• A critical review or commentary, especially one dealing with works of art or literature.
• A critical discussion of a specified topic.
• The art of criticism.

The Difference between Critique and Criticism

• Criticism finds fault/Critique looks at structure
• Criticism looks for what's lacking/Critique finds what's working
• Criticism condemns what it doesn't understand/Critique asks for clarification
• Criticism is spoken with a cruel wit and sarcastic tongue/Critique's voice is kind, honest, and objective
• Criticism is negative/Critique is positive (even about what isn't working)
• Criticism is vague and general/Critique is concrete and specific
• Criticism has no sense of humor/Critique insists on laughter, too
• Criticism looks for flaws in the writer as well as the writing/Critique addresses only what is on the page

Taken from Writing Alone, Writing Together; A Guide for Writers and Writing Groups by Judy Reeves

Critique versus Criticize

Claire Kehrwald Cook, in her Line by Line , noted that critique as a verb “has not yet won full acceptance.” That was more than thirty years ago, and nowadays a great many scholarly writers use critique as a verb routinely and without blinking. But Cook also observed, though in passing, that the meaning of critique , “to give a critical examination of,” differs from that of criticize or review (174).

The difference is important. Merriam-Webster defines the noun critique as “a careful judgment in which you give your opinion about the good and bad parts of something (such as a piece of writing or a work of art)” but points out its overlap with criticism :

Criticism usually means “the act of criticizing” or a “remark or comment that expresses disapproval,” but it can also refer to the activity of making judgments about the qualities of books, movies, etc. (as in “literary criticism”). Critique is a somewhat formal word that typically refers to a careful judgment in which someone gives an opinion about something.

The overlap notwithstanding, here is a reasonable example of why maintaining a distinction matters: On the one hand, “The ballet instructor critiqued the dancer’s pirouette” could mean that the ballet dancer performed an excellent pirouette but that the teacher gave the dancer pointers to make it dazzling. On the other hand, “The reviewer criticized the dancer’s pirouette” means that the reviewer regarded the dancer’s performance unfavorably.

The formal prose required in scholarly writing can make writers hesitant to use simple, down-to-earth words, lest their authority appear questionable. But the preference for critique in academic writing often erases the valuable difference between the two words.

Works Cited

Cook, Claire Kehrwald. Line by Line: How to Improve Your Own Writing . Houghton Mifflin, 1985.

“Critique, N .” Merriam-Webster.com , 2016, www.merriam-Webster.com/dictionary/critique.

Julie Branin 17 October 2017 AT 01:10 PM

I was looking for a comparison of critique and exposee.

Your e-mail address will not be published

Mohamed Jiwa 22 April 2018 AT 04:04 PM

Critique is an adaptation from French, used in English, to help improve quality of work offered by a constituent or stakeholder. It is gentler than Criticism which is nearly the same - a critical response - except it is not always invited and can be an ego buster.

LWE 25 January 2020 AT 12:01 AM

In general, it seems to me that people use “criticism” or “criticize” where a harsher word like condemn/ation or denounce would be more appropriate.

Lisa 26 May 2021 AT 08:05 PM

I noticed that this passage talks about critism and Critique.

Joaquín 02 August 2023 AT 05:08 PM

In philosophy and critical theory it is common. It is true that beyond those areas its much rarer. To me, to critique means to criticize something seriously, argumentatively, and logically.

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Critic vs. Critique — What's the Difference?

Difference Between Critic and Critique

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Essay question words: “critically evaluate/review”

(Last updated: 13 May 2021)

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What does it mean to critically evaluate something or to provide a critical review? We won’t lie – these terms are complicated. But the following paragraph, and the rest of this blog post below, may help your understanding:

Typically, the word “critical” has a negative connotation. Think of words like “critique” and “criticise” and you see why. However, with essay writing, being asked to write “critically” does not necessarily mean you need to be negative. Instead, you are voicing your opinion in a logical and coherent way that is based upon evidence and evaluation.

When faced with the task to “critically evaluate” or to provide a “critical review”, it is important to remember that there is going to be some element of description. But you need to be able to build on that description to further justify your point. Let’s go through some examples.

Descriptive writing

Descriptive writing really focuses on answering the four ‘w’ questions – what, where, who, when. In descriptive writing you are going to need to focus on the following:

As you can see from the table above, all of the ‘w’ questions are really important and are essential components to writing a good essay . The purpose of these components is to let the reader get the essential information they need to understand the main idea. Yet if you stop here, you only end up with a descriptive essay, which does not meet the requirements of criticality that are requested by the professor or TA.

Critical writing

Critical writing gives you the opportunity to go beyond the descriptive, so when you critically evaluate or critically review something, you are moving toward analysis and evaluation. This type of critical writing asks you to assess the how, why, what if, so what and what next questions. As you will begin to notice, these questions require much more explanation that the ‘w’ questions (each of which you could likely answer in 10 words or less). Let’s look at some of these questions below:

Managing the descriptive and critical

Anyone who has done a lot of writing or who has seen many students’ writing will tell you that there are plenty of ways to write an essay . Yet while there are many strategies, when writing in English, there are certain expectations that the reader has when working through a paragraph or larger piece of writing. Therefore, in order to satisfy the reader that you have successfully completed a critical review or evaluation, you need to make sure that the reader gets what they are expecting.

The first step is to carefully read the article/piece of work that you are going to be critically assessing. Often, students feel like, just because something has been published in an academic journal, that it is an excellent piece of writing that cannot be questioned. But this isn’t necessarily true. The author of that article made certain decisions during the research and writing processes. It is your job to evaluate and analyse what they have done and whether the author has presented any evidence that you can draw conclusions from or make links between areas of knowledge.

In an academic journal article, there are often two places where you will be able to find the easiest opportunities to critically evaluate the work: the methodology and the discussion. In the methodology, the author has made certain decisions about how they are going to answer the research question presented. They have usually (in empirical research) identified a sample, context, and certain instruments (e.g. questionnaire, interviews, observations, etc.). Perhaps one of the easiest ways you can critically evaluate this information is to determine whether or not the sample size is big enough or whether the context applies globally or only to the region where the research took place. For example, a sample of 250 undergraduate students might seem like a lot, but if they are all from a remote area of Pakistan, their situation may not be applicable to undergraduate students who are studying in the UK. Highlighting this issue is one of the more basic forms of criticality because you are applying your own judgements to a situation.

Another area where you might be able to critically evaluate a paper is in the discussion section. It’s in this section where the author expresses their point of view and how their findings relate to other aspects of research. In some articles, you might find that the author has made claims . So if we consider the same group of 250 undergraduate students in Pakistan, the author might find that of the 250 students 225 felt that learning English was important for job security in the future. Therefore, the author might claim that students should learn English if they want to secure a good job in the future. With this argument you could evaluate whether this statement is actually true. We already know that 250 is not representative globally, but we can also assume that students in a remote area of Pakistan may not have access to the same opportunities as students in Beijing. These students may come to a different conclusion about English (potentially).

The point of a critical evaluation is to demonstrate that you can think beyond what you are being told. By taking steps to question what is being written and presented to you, you may be better able to write a critical review and to reflect on how and why the author took the position they did. No research study is perfect and it is your job to determine what could have been modified or changed to fit a different situation.

Focus on directive essay words: “to what extent…”

Focus on directive essay words: “summarise”

Focus on directive essay words: “elaborate”

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• Writing for Success: Compare/Contrast

LEARNING OBJECTIVES

This section will help you determine the purpose and structure of comparison/contrast in writing.

The Purpose of Compare/Contrast in Writing

Comparison in writing discusses elements that are similar, while contrast in writing discusses elements that are different. A compare-and-contrast essay, then, analyzes two subjects by comparing them, contrasting them, or both.

The key to a good compare-and-contrast essay is to choose two or more subjects that connect in a meaningful way. The purpose of conducting the comparison or contrast is not to state the obvious but rather to illuminate subtle differences or unexpected similarities. For example, if you wanted to focus on contrasting two subjects you would not pick apples and oranges; rather, you might choose to compare and contrast two types of oranges or two types of apples to highlight subtle differences. For example, Red Delicious apples are sweet, while Granny Smiths are tart and acidic. Drawing distinctions between elements in a similar category will increase the audience’s understanding of that category, which is the purpose of the compare-and-contrast essay.

Similarly, to focus on comparison, choose two subjects that seem at first to be unrelated. For a comparison essay, you likely would not choose two apples or two oranges because they share so many of the same properties already. Rather, you might try to compare how apples and oranges are quite similar. The more divergent the two subjects initially seem, the more interesting a comparison essay will be.

The Structure of a Compare/Contrast Essay

The compare-and-contrast essay starts with a thesis that clearly states the two subjects that are to be compared, contrasted, or both and the reason for doing so. The thesis could lean more toward comparing, contrasting, or both. Remember, the point of comparing and contrasting is to provide useful knowledge to the reader. Take the following thesis as an example that leans more toward contrasting:

Thesis Statement: Organic vegetables may cost more than those that are conventionally grown, but when put to the test, they are definitely worth every extra penny.

Here the thesis sets up the two subjects to be compared and contrasted (organic versus conventional vegetables), and it makes a claim about the results that might prove useful to the reader.

You may organize compare-and-contrast essays in one of the following two ways:

• According to the subjects themselves, discussing one then the other
• According to individual points, discussing each subject in relation to each point

The organizational structure you choose depends on the nature of the topic, your purpose, and your audience.

Given that compare-and-contrast essays analyze the relationship between two subjects, it is helpful to have some phrases on hand that will cue the reader to such analysis.

Phrases of Comparison and Contrast

Writing an Compare/Contrast Essay

First choose whether you want to compare seemingly disparate subjects, contrast seemingly similar subjects, or compare and contrast subjects. Once you have decided on a topic, introduce it with an engaging opening paragraph. Your thesis should come at the end of the introduction, and it should establish the subjects you will compare, contrast, or both as well as state what can be learned from doing so.

The body of the essay can be organized in one of two ways: by subject or by individual points. The organizing strategy that you choose will depend on, as always, your audience and your purpose. You may also consider your particular approach to the subjects as well as the nature of the subjects themselves; some subjects might better lend themselves to one structure or the other. Make sure to use comparison and contrast phrases to cue the reader to the ways in which you are analyzing the relationship between the subjects.

After you finish analyzing the subjects, write a conclusion that summarizes the main points of the essay and reinforces your thesis.

Compare/Contrast Essay Example

Comparing and Contrasting London and Washington, DC

By Scott McLean in Writing for Success

Both Washington, DC, and London are capital cities of English-speaking countries, and yet they offer vastly different experiences to their residents and visitors. Comparing and contrasting the two cities based on their history, their culture, and their residents show how different and similar the two are.

Both cities are rich in world and national history, though they developed on very different time lines. London, for example, has a history that dates back over two thousand years. It was part of the Roman Empire and known by the similar name, Londinium. It was not only one of the northernmost points of the Roman Empire but also the epicenter of the British Empire where it held significant global influence from the early sixteenth century on through the early twentieth century. Washington, DC, on the other hand, has only formally existed since the late eighteenth century. Though Native Americans inhabited the land several thousand years earlier, and settlers inhabited the land as early as the sixteenth century, the city did not become the capital of the United States until the 1790s. From that point onward to today, however, Washington, DC, has increasingly maintained significant global influence. Even though both cities have different histories, they have both held, and continue to hold, significant social influence in the economic and cultural global spheres.

Both Washington, DC, and London offer a wide array of museums that harbor many of the world’s most prized treasures. While Washington, DC, has the National Gallery of Art and several other Smithsonian galleries, London’s art scene and galleries have a definite edge in this category. From the Tate Modern to the British National Gallery, London’s art ranks among the world’s best. This difference and advantage has much to do with London and Britain’s historical depth compared to that of the United States. London has a much richer past than Washington, DC, and consequently has a lot more material to pull from when arranging its collections. Both cities have thriving theater districts, but again, London wins this comparison, too, both in quantity and quality of theater choices. With regard to other cultural places like restaurants, pubs, and bars, both cities are very comparable. Both have a wide selection of expensive, elegant restaurants as well as a similar amount of global and national chains. While London may be better known for its pubs and taste in beer, DC offers a different bar-going experience. With clubs and pubs that tend to stay open later than their British counterparts, the DC night life tend to be less reserved overall.

Both cities also share and differ in cultural diversity and cost of living. Both cities share a very expensive cost of living—both in terms of housing and shopping. A downtown one-bedroom apartment in DC can easily cost $1,800 per month, and a similar “flat” in London may double that amount. These high costs create socioeconomic disparity among the residents. Although both cities’ residents are predominantly wealthy, both have a significantly large population of poor and homeless. Perhaps the most significant difference between the resident demographics is the racial makeup. Washington, DC, is a “minority majority” city, which means the majority of its citizens are races other than white. In 2009, according to the US Census, 55 percent of DC residents were classified as “Black or African American” and 35 percent of its residents were classified as “white.” London, by contrast, has very few minorities—in 2006, 70 percent of its population was “white,” while only 10 percent was “black.” The racial demographic differences between the cities is drastic.

Even though Washington, DC, and London are major capital cities of English-speaking countries in the Western world, they have many differences along with their similarities. They have vastly different histories, art cultures, and racial demographics, but they remain similar in their cost of living and socioeconomic disparity.

KEY TAKEAWAYS

• A compare-and-contrast essay analyzes two subjects by either comparing them, contrasting them, or both.
• The purpose of writing a comparison or contrast essay is not to state the obvious but rather to illuminate subtle differences or unexpected similarities between two subjects.
• The thesis should clearly state the subjects that are to be compared, contrasted, or both, and it should state what is to be learned from doing so.
• There are two main organizing strategies for compare-and-contrast essays.
• Organize by the subjects themselves, one then the other.
• Organize by individual points, in which you discuss each subject in relation to each point.
• Use phrases of comparison or phrases of contrast to signal to readers how exactly the two subjects are being analyzed.
• Provided by : Lumen Learning. Located at : http://lumenlearning.com/ . License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike
• Successful Writing. Provided by : Anonymous. Located at : http://2012books.lardbucket.org/books/successful-writing/s14-07-comparison-and-contrast.html . License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike
• Comparing and Contrasting London and Washington, DC. Authored by : Scott McLean. Located at : http://2012books.lardbucket.org/books/successful-writing/s14-07-comparison-and-contrast.html . License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike
• Table of Contents

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Cause-and-Effect Essay

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• Mini-lesson: Comma Usage
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Difference between Analytical Writing and Critical Writing

I have been spending time online since yesterday trying to understand the difference between analytical summary writing and critical writing. I intend to write an analytical summary essay on the topic of gender bias in academia after going through multiple sources (e.g: two academic research papers, a magazine article and a statistical report).

However, I am getting confused on certain points of analytical writing. Other than a lot of websites that I referred to understand the approach (e.g: this ), I also read some examples of analytical writing, such as this . It seems that the most of the websites/examples suggest adding a thesis in the introduction -- the topic/statement that will be supported in the following paragraphs. However, as in the example above, the thesis seems to stem out of author's own opinions and judgment of the analysed work and doesn't seem to be objective. Isn't it the same in the case of critical writing as well where the writer needs to form opinions and provide evidences to prove their point. What difference then does it leave between analytical and a critical essay?

Am I correct to think that the writer should not form their own opinion, rather extract the hidden meaning from the readings to come up with a thesis? On the other hand, in case of an academic article where the author provides general-specific-general flow and accurate methodology of experiments, if I am not to critique, what shall I specify in the analytical essay that is not evident to the readers of the original academic articles?

• academic-writing
• text-analysis

• Who do you write this for, and why don't you ask them about their expectations? If this is not homework, what is your intention with this essay? –  user5645 Commented Jun 12, 2015 at 7:32
• @what I'm a non-native English speaker and a prospective graduate student following a book on academic writing in which this topic came up, albeit mentioned very briefly in the chapter on summaries. I intend to do it as a personal exercise in case such a writing comes up in future (as my online search suggest that such a writing is very common for graduate students). However, there's not much mentioned beyond instruction of writing an analytical summary essay and so I thought it'd be good to know of the commonly followed method of writing such an essay. –  Cipher Commented Jun 12, 2015 at 7:57

I would not worry about the difference. Every teacher will have a different definition of what analytical writing is and therefore different expectations of what their students should hand in. For an exercise, I would simply take any of the instructions you found and follow that one. If you want you can do different ones and see how the different instructions work for you and how they lead to different outcomes, all of them valid.

In "professional" academic writing, analytical writing is usually a part of a larger work. For example, a doctoral dissertation starts out with a review of the relevant literature that summarizes the findings of other researchers in the same area and explains how they lay the groundwork for your own research or how your research can improve upon them. A meta analysis does the same, except that it restricts itself to the review and does not continue to describe your own theories or research. Finally, any research article begins with a selective review of the relevant literature (this is part of the "introduction") and deduces hypotheses for your own research from this.

So if you want to see how analytic writing is done beyond homework exercises, any scholarly literature in your field should provide examples. You will soon realize, that there are conventions that everyone follows, but that there are also a wide spectrum of how these conventions are followed or deviations from them.

Take this exercise not as something you learn once and then know forever, but as a first step in building a habit of reading critically, taking concise notes, and writing down what you found in differing formats and for different purposes. There is no one correct format for analytical writing, but there is a correct way to approach this task. Learn this approach. There are a host of books that explain how to write for science. Pick up a few from your local library (don't buy any, you'll soon grow beyond them) and try to apply their recommendations.

As for your more specific question, their answer will depend on the circumstances of your writing, such as allowed maximum length, amount of sources found, is it a single article review or a meta analysis of everything relevant, and so on. Try different things and see how they work out for you. Studying is not about being perfect (althought that's easy to forget when you get marks for every comma you forget), but about trying out things and learning in the process.

• Thanks a lot for the answer. Helps a lot. Would you also be able to add a few links to some meta-analysis papers I could refer to for understanding the kind of language/style/organization/tone/etc. they follow? For e.g. Do they question author's methods, assumptions or add their own conclusions or suggestions etc.? To begin with this exercise, I intend to go more on the lines of meta-analysis review (around 2 pages length after reading 2 academic research papers, 1 magazine article, 1 statistical govt. report) –  Cipher Commented Jun 12, 2015 at 8:53
• Use Google Scholar to locate sources in your field. If you use it from inside the network of your institution, you might have access to more papers, because your institution might have bought that access. Search for something like "[your field] meta analysis". All the writing I mentioned does criticise the writings they review. For example, they might mention that the methodology was deficient. Just make sure you are respectful in your critique. Always assume that mistakes are not deliberate and consider that there might be differing but equally valid theoretical viewpoints. –  user5645 Commented Jun 12, 2015 at 9:13

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First Opinion readers respond to essays on right to try lies, pharma execs, and more

By Patrick Skerrett Aug. 10, 2024

F irst Opinion is STAT’s platform for interesting, illuminating, and maybe even provocative articles about the life sciences writ large, written by biotech insiders, health care workers, researchers, and others.

To encourage robust, good-faith discussion about issues raised in First Opinion essays, STAT publishes selected Letters to the Editor received in response to them. You can submit a Letter to the Editor here , or find the submission form at the end of any First Opinion essay.

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“Give pharmaceutical execs the benefit of doubt — but they need to work for it,” by Fred D. Ledley

The author believes “the pharmaceutical industry can develop products that are affordable, universally available…without compromising their profits” and yet also contends that industry executives are not the monocled barons the media makes them out to be. How can both be true?

If the utopian vision Fred Ledley describes is so easily attainable, surely it is the malaise and greed of industry that prevents it. But, as he is quick to point out, that simply is not his experience — or a reality experienced by thousands of scientists, entrepreneurs, investors and yes, corporate executives, dedicated to bringing medicines to patients.

Instead of trying to square this circle, the commentary adds to a long line of other “observers” who insist there is a path to having it all. For example, the author points to his research , which concludes that “drug price negotiation provisions of the Inflation Reduction Act (IRA) could have little or no impact on the number of drug approvals.”

Several other studies point to an opposite conclusion, including newly released data showing dozens of programs paused or stopped because of the IRA. That has certainly been the experience of those with ovarian cancer or those suffering from Stargardt’s disease .

A different report by Ledley and a colleague mistakenly concludes that cutting current drug prices won’t impact the funding for the early-stage companies, to which he attributes the bulk of new medicine development. This is a faulty argument that’s been seen time and again and it is a particularly tough sell now, when on the same day STAT published Ledley’s commentary it covered how sluggish the biotech VC scene is this year. A headline in Thursday’s Wall Street Journal similarly captured the trickle-down effects: “Big Pharma Cuts R&D, Sending Shudders Through Industry.”

As much as people want to demonize large pharma and champion small biopharma companies, that’s not how the ecosystem works. And this symbiotic relationship isn’t just inseverable, it is invaluable. It reflects decades, if not a century, of specialization of labor and efficient allocation of capital.

But Ledley writes that breaking these ties, and navigating hundreds of billions of dollars in lost revenue can be done if industry is “held accountable …” and by “executing effective strategic management and investment practices.”

If only it was so easy. The reality is that economics, like life, is governed by tradeoffs. We cannot have our cake and eat it too. Is it really that hard for all of us to admit that?

— John Stanford, Incubate Coalition

“Trump gave patients a ‘right to try’. It hasn’t helped them,” by Alison Bateman-House and Holly Fernandez Lynch

At the Republican National Convention, Donald Trump claimed that “Right to Try” had saved hundreds of thousands of lives. People living with terminal diseases that cannot yet be treated should not be lied to. It is sad that they are being used as pawns by unscrupulous politicians.

— Kim Meyers

“Mark Cuban’s company won’t fix drug costs, but it can still help rectify America’s drug shortages,” by Ezekiel J. Emanuel and John Connolly

I’m not sure if there’s a medical procedure code for “tall poppy syndrome” — the act of cutting down someone who has become successful or noteworthy — or not but this article is the embodiment of it. The authors create a ridiculously high standard that they argue Mark Cuban needs to achieve in order to “fix costs” while ignoring the fact that he is changing the conversation about the pricing of generic medications to payers, be they individuals, companies, or the government.

Roughly 90% of people have insurance and most of the time it works well to cover medications, especially common generics. However, if you find yourself among the 27 million uninsured Americans or the tens of millions in a high deductible plan, you may encounter a situation where you must pay cash for a generic medication. Many surveys have shown that this unexpected type of expense can be difficult. But what makes Cost Plus so interesting (and often revered) is that consumers know they’re not getting ripped off by a bunch of excessive markups. Who would buy milk at a store if marked up randomly by $40 when the store across the street priced it as usual?

If the country’s entire pharmacy-based reimbursement system went to Cost Plus for the roughly 6 billion generic prescriptions a year, it wouldn’t save that much if set at a price point of 10% to 20% over the true, net wholesale price (to the pharmacy). But the pharmacy pricing roulette game that many people experience is really frustrating and has no doubt led to early deaths and complications from lack of adherence.

I applaud Cuban for his leadership and risk-taking here. My advice is to ignore the critics who appear to be envious of your ability to capture so much attention and nudge the markets in an exciting new direction.

— Stephen Buck, CancerSurvivalRates.com

“PBMs aren’t opening access to lower-cost biosimilars. Reform is needed now,” by Juliana M. Reed

As Congress, the Federal Trade Commission, and advocates from across the health care system have long known, pharmacy benefit managers are not doing nearly enough to ensure that biosimilars are accessible and affordable for patients.

This is a serious, and sometimes life-threatening, problem for the millions of Americans living with gastrointestinal diseases, such as Crohn’s disease or ulcerative colitis. While biosimilar medications like infliximab are safe, effective, and clinically appropriate for many people, the pharmaceutical company rebates secured by PBMs for these drugs do not translate to reduced costs for the people who need them. Instead, these rebates are lining the pockets of PBMs, while patients pay exorbitant prices out-of-pocket for necessary medications.

These rebates don’t factor into the cost of biosimilars purchased by independent practices, meaning physicians lose money for each dose they provide to patients. Just to stay afloat, at a time when costs are rising across the board, practices are often forced to switch patients to other drugs (thereby starting a fresh round of prior authorization approvals from the patients’ insurance company) or refer them to hospitals or standalone infusion centers (often owned by private payers) — both settings where costs are higher and the continuity of care is disrupted.

As policymakers in Washington rightly consider putting up guardrails around PBMs, it is critical for them to regulate dangerous white bagging mandates, delink the list price of a biosimilar drug from PBMs’ compensation, and ensure that patient access to necessary infusions is not disrupted every time an insurer updates its formulary. Patient access and health depend on it.

— Dr. Maria T. Abreu, president of the American Gastroenterological Association, director of the Crohn’s & Colitis Center at the University of Miami Health System, and professor of medicine, microbiology and immunology at the University of Miami Miller School of Medicine.

About the Author Reprints

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Acting First Opinion Editor

Patrick Skerrett is filling in as editor of First Opinion , STAT's platform for perspective and opinion on the life sciences writ large, and host of the First Opinion Podcast .

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How to cite ChatGPT

Use discount code STYLEBLOG15 for 15% off APA Style print products with free shipping in the United States.

We, the APA Style team, are not robots. We can all pass a CAPTCHA test , and we know our roles in a Turing test . And, like so many nonrobot human beings this year, we’ve spent a fair amount of time reading, learning, and thinking about issues related to large language models, artificial intelligence (AI), AI-generated text, and specifically ChatGPT . We’ve also been gathering opinions and feedback about the use and citation of ChatGPT. Thank you to everyone who has contributed and shared ideas, opinions, research, and feedback.

In this post, I discuss situations where students and researchers use ChatGPT to create text and to facilitate their research, not to write the full text of their paper or manuscript. We know instructors have differing opinions about how or even whether students should use ChatGPT, and we’ll be continuing to collect feedback about instructor and student questions. As always, defer to instructor guidelines when writing student papers. For more about guidelines and policies about student and author use of ChatGPT, see the last section of this post.

Quoting or reproducing the text created by ChatGPT in your paper

If you’ve used ChatGPT or other AI tools in your research, describe how you used the tool in your Method section or in a comparable section of your paper. For literature reviews or other types of essays or response or reaction papers, you might describe how you used the tool in your introduction. In your text, provide the prompt you used and then any portion of the relevant text that was generated in response.

Unfortunately, the results of a ChatGPT “chat” are not retrievable by other readers, and although nonretrievable data or quotations in APA Style papers are usually cited as personal communications , with ChatGPT-generated text there is no person communicating. Quoting ChatGPT’s text from a chat session is therefore more like sharing an algorithm’s output; thus, credit the author of the algorithm with a reference list entry and the corresponding in-text citation.

When prompted with “Is the left brain right brain divide real or a metaphor?” the ChatGPT-generated text indicated that although the two brain hemispheres are somewhat specialized, “the notation that people can be characterized as ‘left-brained’ or ‘right-brained’ is considered to be an oversimplification and a popular myth” (OpenAI, 2023).

OpenAI. (2023). ChatGPT (Mar 14 version) [Large language model]. https://chat.openai.com/chat

You may also put the full text of long responses from ChatGPT in an appendix of your paper or in online supplemental materials, so readers have access to the exact text that was generated. It is particularly important to document the exact text created because ChatGPT will generate a unique response in each chat session, even if given the same prompt. If you create appendices or supplemental materials, remember that each should be called out at least once in the body of your APA Style paper.

When given a follow-up prompt of “What is a more accurate representation?” the ChatGPT-generated text indicated that “different brain regions work together to support various cognitive processes” and “the functional specialization of different regions can change in response to experience and environmental factors” (OpenAI, 2023; see Appendix A for the full transcript).

Creating a reference to ChatGPT or other AI models and software

The in-text citations and references above are adapted from the reference template for software in Section 10.10 of the Publication Manual (American Psychological Association, 2020, Chapter 10). Although here we focus on ChatGPT, because these guidelines are based on the software template, they can be adapted to note the use of other large language models (e.g., Bard), algorithms, and similar software.

The reference and in-text citations for ChatGPT are formatted as follows:

• Parenthetical citation: (OpenAI, 2023)
• Narrative citation: OpenAI (2023)

Let’s break that reference down and look at the four elements (author, date, title, and source):

Author: The author of the model is OpenAI.

Date: The date is the year of the version you used. Following the template in Section 10.10, you need to include only the year, not the exact date. The version number provides the specific date information a reader might need.

Title: The name of the model is “ChatGPT,” so that serves as the title and is italicized in your reference, as shown in the template. Although OpenAI labels unique iterations (i.e., ChatGPT-3, ChatGPT-4), they are using “ChatGPT” as the general name of the model, with updates identified with version numbers.

The version number is included after the title in parentheses. The format for the version number in ChatGPT references includes the date because that is how OpenAI is labeling the versions. Different large language models or software might use different version numbering; use the version number in the format the author or publisher provides, which may be a numbering system (e.g., Version 2.0) or other methods.

Bracketed text is used in references for additional descriptions when they are needed to help a reader understand what’s being cited. References for a number of common sources, such as journal articles and books, do not include bracketed descriptions, but things outside of the typical peer-reviewed system often do. In the case of a reference for ChatGPT, provide the descriptor “Large language model” in square brackets. OpenAI describes ChatGPT-4 as a “large multimodal model,” so that description may be provided instead if you are using ChatGPT-4. Later versions and software or models from other companies may need different descriptions, based on how the publishers describe the model. The goal of the bracketed text is to briefly describe the kind of model to your reader.

Source: When the publisher name and the author name are the same, do not repeat the publisher name in the source element of the reference, and move directly to the URL. This is the case for ChatGPT. The URL for ChatGPT is https://chat.openai.com/chat . For other models or products for which you may create a reference, use the URL that links as directly as possible to the source (i.e., the page where you can access the model, not the publisher’s homepage).

Other questions about citing ChatGPT

You may have noticed the confidence with which ChatGPT described the ideas of brain lateralization and how the brain operates, without citing any sources. I asked for a list of sources to support those claims and ChatGPT provided five references—four of which I was able to find online. The fifth does not seem to be a real article; the digital object identifier given for that reference belongs to a different article, and I was not able to find any article with the authors, date, title, and source details that ChatGPT provided. Authors using ChatGPT or similar AI tools for research should consider making this scrutiny of the primary sources a standard process. If the sources are real, accurate, and relevant, it may be better to read those original sources to learn from that research and paraphrase or quote from those articles, as applicable, than to use the model’s interpretation of them.

We’ve also received a number of other questions about ChatGPT. Should students be allowed to use it? What guidelines should instructors create for students using AI? Does using AI-generated text constitute plagiarism? Should authors who use ChatGPT credit ChatGPT or OpenAI in their byline? What are the copyright implications ?

On these questions, researchers, editors, instructors, and others are actively debating and creating parameters and guidelines. Many of you have sent us feedback, and we encourage you to continue to do so in the comments below. We will also study the policies and procedures being established by instructors, publishers, and academic institutions, with a goal of creating guidelines that reflect the many real-world applications of AI-generated text.

For questions about manuscript byline credit, plagiarism, and related ChatGPT and AI topics, the APA Style team is seeking the recommendations of APA Journals editors. APA Style guidelines based on those recommendations will be posted on this blog and on the APA Style site later this year.

Update: APA Journals has published policies on the use of generative AI in scholarly materials .

We, the APA Style team humans, appreciate your patience as we navigate these unique challenges and new ways of thinking about how authors, researchers, and students learn, write, and work with new technologies.

American Psychological Association. (2020). Publication manual of the American Psychological Association (7th ed.). https://doi.org/10.1037/0000165-000

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