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Writing Tips Oasis - A website dedicated to helping writers to write and publish books.

How to Write a Collection of Essays

By Georgina Roy

Table of Contents

1. Defining the genre

2. the writing process, 3. choosing the right essays, 4. publishing multiple collections, 5. selecting compatible themes, 6. the importance of arrangement, 7. chronological arrangement, 8. arranging for impact, 9. dealing with difficult themes, 10. the importance of second opinion, 11. analysis: are you offering something new, 12. presenting radical ideas, 13. writing and language style, 14. pre-publication options, 15. publishing the collection of essays.

Welcome to Writing Tips Oasis and our newest guide – how to write a collection of essays.

This guide will be different than others, and this is due to the fact that the type of work you’re trying to publish will not fall into a traditional genre – and by that, we mean literary fiction, non-fiction, and genre fiction , including everything from chic lit to dystopian fantasy and science fiction.

If we can call philosophy a genre – and not an academic discipline – then that’s where a collection of essays would belong to. However, philosophy is not isolated from other scientific studies, it encompasses learnings from many other academic disciplines, from history to psychology. A collection of essays may touch upon these, however, most often, a collection of essays is the place where a writer shares their own views and perspective on the world, the life they’ve lived, and the lessons they’ve learned along the way.

In other words, a collection of essays can be quite a niche, and that comes with its own consequences. In this guide, we will analyze the different aspects and things that you need to be careful about when writing a collection of essays, and, at the end, we will take a look at the publishing process and how it differs from publishing a fiction or a non-fiction book.

A collection of essays might fall under the umbrella of philosophy – barely, but it has an even more difficult time falling into a genre. It’s a mix of autobiography, memoir, and, well, blog posts, and as such, it can be a tough ordeal to even find the right audience for it.

For example, you may want to explore the things you learned while in your teens, and maybe your essays will provide a fascinating insight into what it’s like to be a teenager and what you would’ve liked to know at that age. However, who will read that? The teenagers you’re writing about may be more interested in reading YA vampire novels, people in their early twenties or even thirties may not be so keen to go back to those years – or even think about what they should have known at that age – and people who are older than that may have different things on their minds, which means your book of insightful essays may fall into the hands of other writers or a small group of people who like to think about those things.

Similarly, you may want to document everything you’ve learned as a new parent. Now, that, is a different story altogether, because there will be a lot of people who will relate to that – and be interested in reading it in order to see what they could learn from you. So, from a pure business and marketing point of view, a collection of essays on parenthood will have a better chance at attracting many readers than a collection of essays on being a teenager.

So, what can you do?

Well, for starters, write the essays first. So, let’s cover that aspect before we continue.

The writing process of a collection of essays is quite different compared to a novel or a non-fiction book. Could you decide upon each title in your collection and sit down to write them? Of course, but would those essays be genuine? Chances are, they would sound more like textbook passages, or, even worse, schoolwork assignments.

As such, what you really need to have when you decide to publish a collection of essays are written essays. Whether these will be written over the course of a year, five years, or a decade, is up to you and your writing habits. However, there is one truth that we may be able to claim with relative certainty: all writers write essays. If you’re a writer and you’re not writing essays at the moment, chances are you haven’t noticed that you do. For example, many writers would write essays as a warm up to writing in their novel. Moreover, what are non-fiction books these days but the author’s knowledge and opinion on a certain, specific topic? Of course, good non-fiction novels are supported by facts and a lot of research, but at the core of it, they are still a series of essays in a very specific, very narrow even, topic.

Of course, now, you may find yourself thinking that you should better give up on your goal to publish a collection of essays because you have none at the moment. Our advice is twofold. First, dig into your writing – especially your free writing, musings in your notebooks or forgotten word files in your laptop. Chances are, there is a lot of wisdom hiding in there. Second, make a habit to write down your thoughts. Life is chaos, that’s true, but we learn something every day, and we create the narrative of our lives through our thought processes. Start creating the habit to write these things down, as often as you can. Soon, you will begin to want to do it, because writing can also serve as a form of therapy where we make sense of things. Before you realize it, you will begin to write essays, and you may have enough essays to publish in a collection within a few months or a year.

But, the process does not end there. If the first goal is to have the essays already written, the second goal is to choose the right essays.

Let’s take a look at what that means.

In the first section, we talked about two different types of collections of essays, teenage years and parenthood. But, those two are nothing but examples of the themes and topics that your collection of essays will cover. In other words, you can have collections of essays on many aspects of life. From finding love in a busy world to being a new pet owner after a lifetime of fear of animals, for example. Dealing with hypochondria, dealing with mental illnesses, becoming a parent, choosing not to be a parent and the consequences of that – both personal and social and where and how they meet. You can have collections of essays on sociology, social issues, psychology, even history – if you can offer a different perspective on past events.

The opportunities are endless. Meanwhile, chances are, your essays will revolve around your own life, and what you learn along the way. This means that there will be a variety of topics that you will cover in your essays.

As such, welcome to the one and only rule of writing and publishing an essay collection: choose the correct essays, essays that will revolve around either a single topic or a variety of topics that will revolve around a similar theme or phase in life. You will write many essays in the course of your writing career – even more so if you decide to adopt the habit of writing things down – but that does not mean that every essay you’ve ever written will get to be published. To double down on it even, not every essay you’ve written will be publishable in the first place.

But, of those that are publishable, they will cover a variety of topics, each topic as different from the other as night and day, and those essays will ideally belong in different collections. So, let’s cover that first before we continue on what it means to combine different themes and topics in a single collection.

Some authors have found their niche and publish their essay collections and that is what their career as an author is based upon. Can you do the same?

The answer to that question is complicated. In theory – yes, you can. If you have enough material for many different collections, then you have completed the first step in achieving such a goal. The second step, unfortunately, depends on the wheel of fortune and lady luck herself. You can self-publish, yes; but will your first publication be successful without the backing (and the marketing team) of a publishing house that specializes in publishing essays? Moreover, will you even have the luck to get published traditionally without an agent – who, yes, also specializes in authors who write essay collections?

However, you can publish different collections of essays even if you are predominantly a fiction author. Look at how many authors from the 20 th century, like Bukowski, Bradbury, Vonnegut, and yes, even Stephen King have published their collections of essays throughout the years. Stephen King’s On Writing is one of the most famous books that aspiring writers are recommended to read (and again, consider this mention a recommendation too, because Stephen King is the king of writer discipline, which is what has made him so prolific over the years).

So, maybe after you analyze your essays, you will realize that you have material for three or four different collections. Which then begets the task of organizing the essays into a cohesive whole.

And that’s when you need to begin to think in terms of themes.

Before you even begin to think about which essays to select for your collection, you need to decide on the theme or themes that you will talk about. As writing essays can often be a stream-of-consciousness effort rather than a planned one, you may be tackling different themes as you write them. So, when the moment comes to decide which theme will be prevalent in the essays, you may feel strangled by the need to choose just one.

However, that is the furthest thing from the truth. The goal here is to not promise something that you will not deliver upon – in the title, in the description, in the blurb of the book. If you wish to gather all the essays you’ve written while living in a certain town – whether your hometown or not – then, by all means, allow the reader to understand that the town will be what connects all of them. On the other hand, if you wish to cover your life experiences as an expat for example, or what living as an expat has taught you, then make sure to keep within that margin. The difference between the first and the second example is that the first one is a lot narrower. To continue with the example, let’s say that you were born in one town, but are writing about your experiences while living in another town. In this case, your essays about your hometown will not belong in that collection.

On the other hand, if what connects all your essays together is your life as an expat (still continuing on the other example above), then you can include not only essays about your hometown, and the new town where you moved, but you can include every other essay where your perspective as an expat comes into play.

Again, these two are just examples. You may wish to write about being a feminist (or, as is the case of Roxane Gay, about being a Bad Feminist), and what that means to you. In this case, you would include all the essays where the ideas you express come from that aspect – and it doesn’t matter whether you are talking about the interpretation of dreams or the most prevalent pop culture ideas of the current times.

As such, do not mix essays that do not have a correlation between them. For example, you should not really mix essays on the prevalent homelessness in NYC, while in the same collection, include an essay about what partying at Columbia University was really like. Not only are those two topics quite disconnected from one another, but it would also be in bad taste and give an impression that you, as the writer, are unaware of your own privilege.

Once you make a decision on what would be the theme or aspect about yourself or your life that will connect all of the essays in your collection, you can begin to think about the arrangement of the essays.

How you arrange the essays in your collection is just as important as the essays themselves. There are a few different ways that you can do this: chronologically, for impact, or, to create a cohesive narrative whole.

First and foremost, each essay you have chosen needs to present a point and argue for or against that point, based on your perspective. A collection of essays is not a memoir or an autobiography that will recount past events or experiences – but, an essay will contain those past experiences, along with a certain amount of established, confirmed research findings if you’re dwelling into themes and topics where you need the support of such findings to argue your points. But, an essay needs to have a point, it should end on an abrupt note where it feels unfinished, even if that note may seem powerful to you personally.

A collection of essays, in turn, needs two things: each essay needs to correspond well with the overall theme that connects all of them, and, ultimately, it needs to form a cohesive collection of ideas on the established theme. Whether this will be done through a chronological arrangement, an arrangement for impact, or through an arrangement that hints at a narrative without delving too much into fiction, will depend on both the theme and the author themselves – or, upon you as the author. But, once you decide on which path to take, then make sure to stick to it to ensure that reader gets to close your book after reading all of your essays with the feeling that they have, by reading your essays, gained a new perspective of the theme you are talking about in the essays.

Since it’s impossible to distil these different arrangements without using examples, we will go back to our two previous examples: a collection of essays written in one town, and a collection of essays about your (supposed) life as an expat. And, since we mentioned three ways, we will add another example theme, which can be feminism.

Of our previous examples of themes, the example of life as an expat works best for chronological arrangement of essays. There will be a difference in the essays one would have written in the beginning of such a major change in life, and as time goes along, those essays will have gained a different tone and perspective.

There are other themes that can benefit from chronological arrangement. For example, coming of age in a certain country, coming of age in a certain time period (the 60’s, the 70’s, the 80’s and so forth), coming of age in the time period of the early to late 2000’s, and the major worldwide changes that ensued as a result of the technology boom, or, growing up with a smartphone in hand (something that we assume newly fledged adults will be writing about in the next decade).

The common correlation between all of these themes is time: as time passes, the perspective changes. There is always a change in the tone from the first to the last essay, and the last essay should wrap things up and offer a conclusion on the overall theme presented in the collection. In the end, reading such a collection makes the reader feel that they have gone through a philosophical journey just as much as the author did, and are able to understand the author’s perspective and ideas – even if they don’t agree with them.

Another title for this section could be “arranging due to impact” because there are two different paths the author can take here. First, you can arrange the essays to create a different impact with each of them. Meaning, each essay’s impact will be calculated and placed specifically in that spot in the collection because that essay will be more painful, powerful, or maybe, more humorous than the ones before and after it. Depending on the difficulty of the themes you’re tackling, you might want to arrange the essays in such a way so as to not overwhelm your readers.

To go back to our example, let’s say that your collection is about living a single town. Life in a single town, in which case you can have essays about life, which yes, will include death and birth and everything in between. For example, if your first essay is about death, grief, or mourning, you may have exhausted the reader completely, even though they’ve just begun reading your collection of essays.

However, on the other hand, maybe you do want to start with a bang and then continue on with the other essays. In this case, you want to ensure that you do not use up the most powerful essays all at once in the beginning of the collection, because then your readers might not stick around when the individual themes and topics of the essays become lighter.

In the end, when it comes to arranging for impact – or as a result of the impact of the individual essays – you are the one who should make the final decision on which way you will go. However, it’s very important to keep this impact in mind because ultimately, you want the readers to enjoy reading your collection, even if it deals with difficult themes (and, truthfully, though often humorous, most collection of essays do deal with difficult themes that would make most people even a little uncomfortable). So, the idea is to ease your readers into it before presenting them with some of the most difficult essays – essays that would have a great emotional impact on the readers.

Which brings us to arranging with hints of narrative – and dealing with difficult themes.

When it comes to dealing with difficult themes – or, perhaps the better word here would be traumatic themes – like rape, grief, mourning, murder, suicide, – arranging the essays in such a collection can be a huge challenge.

And the truth is that there is no “correct” way of arranging the essays when it comes to themes like these. Your readers will always fall into two categories: people who have gone through that traumatic experience, and people who haven’t. And each individual from both groups will experience your collection differently.

The reason why we mentioned arranging the essays with a hint of a narrative is because when it comes to themes like dealing with trauma and grief, arranging the essays in such a way can give the reader hope – especially if you do have essays that focus on the aspect of healing. If that’s the case, you have the opportunity to divide the essays in three parts (just like a novel has a beginning, a middle, and an ending). You have the essays that talk about life before the traumatic event, the traumatic event, the post-traumatic period, and the healing period.

Please note that this doesn’t mean that you need to create a fictional story or to rewrite your essays so that they read like fiction, or a string of loosely connected short stories. If you do that, you’ve delved either into fiction territory, or the territory of a memoir or an autobiography (about a certain time period of life). What we talk about is having the essays arranged in such a manner as to show the process of dealing with the trauma and healing.

Or, in other words, you are not always right. Here, we will get a bit away from difficult themes and talk about the other type of difficult topics that we are dealing with today: social issues. As the year 2020 showed, the world is full of social injustices based on race, religion, ethnicity, wealth, sexual orientation, gender (or non-gender) … we can go on and on.

And you may have some strong opinions on these issues. That, however, automatically, will not make you right. In fact, these issues are so complicated, and each person’s views will differ so much that the writer’s background always gets involved into the importance of their opinion – which is not necessarily a good thing – but it happens. Even when a woman writes about what it means to be a feminist, there may be other women who will disagree with her views. Or, a person of color might write about what it means to be oppressed, and then another person of color may come forward and dispute all of those claims. Alas, that is the world we live in.

The best thing you can do is try to get a second opinion – not from a friend, a lover, or a family member, or a person who you know will agree with your views. Quite the opposite actually. Have your essays read by someone who may actually disagree with your views. Have your essays beta read by strangers whose opinion you cannot gauge before you give them your collection. Try to get as many unbiased opinions as possible, and then listen to their feedback.

And this isn’t just because you’re not always right. Additionally, there will always be the chance that some people will not understand your essays. Maybe you did not express your views in the correct manner (which happens quite often), maybe you said something that can be easily taken in a negative connotation out of context – which can later on be posted in reviews of your collection. And don’t forget that cancel culture exists – these days, any public figure can get “cancelled” really quickly because of a wrong word in a wrong spot in a single sentence. It’s not just about not offending a person, a group of people, or a whole nation or gender, it’s about not having your career ruined before it has even begun.

We’ll talk more later about the difference between being honest in your views and being offensive, but first, let’s take a look at what you would be offering in the essays themselves.

Like with any other genre of fiction or non-fiction niche, before you start with the publishing process of your essay collection, read other author’s collections – yes, in the particular theme or topic you wish to tackle.

Read as many as you can. And then, start analyzing.

In fiction, it is advisable to read as many novels in your genre so that you will ensure that you will not publish something that has been seen before. For example, you may have a great idea about a love story between an overbearing, overprotective Alpha-male, and a not-quite-submissive heroine who still needs the hero to rescue her on occasion. And if you thought how that sounds like Twilight (and its adult spawn, 50 Shades of Grey ), you’d be correct.

The same applies to non-fiction niches too. You may have a great idea about a cookbook full of your grandmother’s southern cooking recipes. But then, you do your research and discover that there are about a hundred books out there on southern cooking, and about half of them have the same recipes that you thought were unique to your grandmother’s kitchen.

The same applies to essay collections. You may think that you have great ideas and great insight into life, the universe, and everything, but you may also discover that about a hundred other authors have already said the same thing in different words.

However, do not despair! The chances of that particular scenario happening with a collection of essays is quite slim (but not impossible). Worst case scenario, a few of your essays may present ideas that have been explored by other authors. But, that doesn’t mean that your particular individual perspective will not offer anything new to the table. Because of that, read as many collections as you can, and then analyze your own essays. Decide which essays fall into the category of “no one has said this before” and the category of “someone has talked about this, but they haven’t proposed this idea’ and “people have already talked at length about this, and I’m not really offering anything new.”

And, even better news: the chances of your essays falling into the third category are even slimmer, unless you’re talking about how it’s really bad to hit and abuse street animals, for example. In other words, your essays would need to be written about universal topics with views that are easily shared by most good and kind people in the world. On the other hand, if you’re proposing new and radical ideas about what society should do to protect these street cats and street dogs, then, most of the same good and kind people in the world would probably be all ears.

So, what happens when you do have radical ideas?

First and foremost, the term “radical idea” is both vague and specific, because an idea that was radical fifty years ago is a normal and accepted idea today. An idea that goes against the established common norm is a radical idea, even if it may seem like a normal idea to you, personally. Some radical ideas are positive, however, some can be quite negative. And then, there are the ideas that appeared radical at a first glance, but in reality, they are what should have been the norm all along (like, for example, women having the right to vote and the right to equal wages in comparison to men).

As such, the first thing to do is to analyze – in the same way as in the previous section – whether your ideas can or would be considered radical by your readers. The second step is to see whether you are presenting your ideas properly. As we talked before, you do not want to be misunderstood, because that can be something that will kill your career before you’ve even begun it properly, and this can be especially important if you are planning on making a career as a public speaker and writer of essay collections.

To put it into an example, let’s use feminism as a theme here. Today, the word feminist can often be correlated with a person who believes in equal rights for all genders. On the other hand, a feminist can be also correlated with a person who believes that women need and should not only get special rights, but also special treatment. And, the line between those two gets really, really blurry quite often, so much so that, as we’ve mentioned before, a feminist can read an essay written by another feminist and disagree with the writer and call their views radical (and maybe even harmful).

The best thing to do to avoid being mislabeled and misunderstood is to be very clear in your essays that you do not discard the established norm – or the general view of the idea, but that your idea also deserves merit and consideration. To go back to feminism, or, even deeper, rape culture. Today, it is widely considered that one in five women will be the recipient of unwanted sexual and/or romantic attention. A study in the The New England Journal of Medicine suggested that this number can be lessened by teaching young girls and women to speak up when they feel that their boundaries are being threatened. However, it would be easy for that statement to be misinterpreted as “we need to teach women how to defend themselves, but there is no need to teach men about consent.”

You might think, “Oh, they are my essays, and I will write them in any writing style I want.”

You’d be very wrong.

The language and writing style is your choice – however, remember what we talked about in a previous section: you do not wish to alienate your readers by false advertising. Meanwhile, different topics will require a different writing style. For example, observations about life in the modern small town will sound the best written in a language style that would be easy to follow and understand. You might even call it, workman-like prose that does not ask the readers to have had a high SAT score to understand.

On the other hand, if you’re writing about grief and dealing with grief, your language style will have a different requirement. Yes, it’s okay to use workmanlike prose in it too; but, since you would also want to add credibility to your opinions through established psychological research, you might want to find a balance between an academic style and workmanlike prose.

Moreover, you have essays on topics that require a more academic-sounding voice, like societal issues and similar topics. In this case, it’s best to lean slightly towards a more formal, more academic prose that will convince the readers that you know what you’re talking about.

The good news is that this is an issue you would have to deal with in the editing process – after you have chosen your essays and determined their arrangement in the collection. When the time comes for you to edit the collection – and editing is necessary, even if your essays have already been written – you can work on the writing style and use of language in your prose. That is to say, you will not be changing your views or opinions on anything, you will basically be tightening the prose.

Another thing to ensure when you’re editing the essays (which is the final step before starting the publication process), is that all of the essays use the same writing style – regardless of whether the style is humorous, serious, academic, or workmanlike prose. Even so, we would not recommend using workmanlike prose too much in your essays as this can harm your credibility and make people feel that they are reading your blog posts in print – or eBook version of them. Your writing style needs to reassure the readers that your opinions are worth reading about, that they are worth something, and that your insights into the topics you’re talking about are valuable and worth paying for (since ultimately, readers would be buying your essay collection, and you want to ensure that they have gotten their value for the money).

Finally, you would have to proofread your collection. In this step, you should pay attention to spelling and grammar mistakes, yes, but also, pay attention to repetitive words and phrases. When you’re writing in free form (or free writing), you may tend to use the same phrases over and over again without even realizing it. If your essay collection will be beta read, then ask your beta readers (even if they are your friends), to tell you about the phrases that you use most often. In fact, a good beta reader will tell you this even without you asking for that.

Finally, your collection will be ready and in mint condition. And the question that arises after that is: what now?

Well, let’s take a look at some of your options.

First and foremost, understand that publishing any book requires a lot of patience. The road to a successful release of a book is long and difficult, and it will ask you to work for a long time before you will see the fruits of your labor. This is true for any book.

Sure, you might say, but how did this author or that author do it? Well, the answer to that is: it doesn’t matter. It doesn’t matter what the experience was for another author because each author will have their own unique story of how they got published, and, even if you follow their way step by step, you still might not get the same result because publication – successful publication – depends half on luck, and half on the quality of your work.

However, the good news is that there are some things that you can do to make the road to publication for your own essay collection easier.

1) Get out there: Meaning, establish yourself online. Create professional social media accounts for yourself, create a website and a blog. Make sure you’re not an unknown commodity because in that case, publishers will not bet on your book collection being successful, which will make it more difficult for you to get traditionally published. And, if you’re self-publishing, the same applies. A self-published book by an author with a large following online will get more traction, because you would already have a fan base waiting for your book – even if that fan base is small.

2) Get published in magazines: Both online and in print. This will require you to do your homework – meaning, do a lot of research. There are plenty of online magazines out there, as well as magazines that are still in print. Analyze your essays. The good news is that you can publish your essays individually in these magazines to gain traction, and then you will be able to attract publishers for the whole collection. The bad news is that you need to pitch your essays to the right magazines. First, you want to get published in magazines that have a large reader base. Second, you need to make sure that the content and writing style will match the magazine’s style and content. However, you can try to get published in many different magazines, which in this case, can be very helpful because it might enable you to gain traction as an essay writer (or a columnist) quicker. In other words, depending on the content of your essays, you can seek out different types of magazines that will match different essays from your collection.

3) Be a columnist or a guest blogger: Seek out bloggers who have a wide audience and try to be a guest blogger on their blog. Make sure, again, that the topics of your essays will match the topics of the blogger, and, make sure that that particular blogger is a person whom you would not mind to be associated with later on. On the other hand, when it comes to magazines, instead of trying to sell your essays to them, try to become their guest columnist. Again, this doesn’t mean that you need to track down a cooking magazine and try to write a column for them. The magazine should be publishing material that fits you as a writer and fits the themes that you like to write about, especially because a column is a piece that is very close to an essay – meaning, the writer shares their own personal opinion about a certain theme, topic or an issue.

To conclude here, before you begin the publishing process – of which we’ll talk about next – try to make a name for yourself out there. For example, some vloggers from YouTube have landed publishing deals due to garnering a big following there. Having a platform that will wait for your work to get published can be a huge help in having a successful publication that will kick-start your career as a writer – even if you’re not getting traditionally published.

As with any other publication process, you can take two different routes: self-publishing, or traditional publishing. And, if you think that one or the other is easier, you’d be terribly wrong, because both routes are difficult, and, as we’ve already said in this guide, it will require patience.

First, getting an online platform – or getting followers online on social media and websites like YouTube or even Twitch, can be a huge help. It’s not a guarantee that when you publish your essay collection, it will be a major success. You may sell a lot of copies, but the general feedback might not be as optimal as you’d hoped (and nothing will hurt your ratings like bad reviews or Goodreads and Amazon, the two platforms that people use the most these days when they choose the next books).

But, let’s talk about the two publishing processes so far.

Self-publishing: it can be done through Amazon and other platforms, but Amazon also offers print-on-demand, which means that you can get published both in print and in eBook format easily. In this case, your job will involve becoming your own marketing consultant, your own publicist, and your own sponsor for ads and other paid promotion options. And yes, this can be a huge cost for you, and you will not have the guarantee that your investment will pay off. What you can do is ensure that the book has a catchy title and a blurb. Focus on who you are: what makes you unique? Is it your cultural background, or is it your personal experience with the topics you would be covering in your essay collection? Whatever makes you, the writer, unique, needs to be put in the blurb for your essay collection. Read other books’ blurbs.

For example, Roxane Gay’s extremely successful Bad Feminist has what makes her unique in the title: she considers herself an unconventional feminist, and the essays in that essay collection all revolve around that topic. On the other hand, you have Aleksandar Hemon’s The Book of My Lives , which chronicles his life in Sarajevo before the war, and his life in Chicago while his hometown is under siege, where the only thing he was able to do was watch from afar. The one similarity it has with Bad Feminist is in the title: it immediately points to what makes the author unique and what makes their perspective unique. So, your book collection’s title itself should point out to both what makes you, as the writer, unique, and it should point to the topics you are talking about in your essays.

Meanwhile, don’t forget about the cover. Again, it should suit the themes and topics you are covering, and, it should look professional and well done. If you have the skills to create a cover on your own, that’s great, but if your cover looks like something a teenager created while writing fanfiction on Wattpad (and even on that platform, fanfiction covers have become better and better), then you might consider hiring a professional to do it for you.

Traditional publishing: you might think that getting traditionally published will save you the headache of dealing with everything we’ve described above. Again, you’d be wrong. Getting traditionally published means finding a publisher for your novel. Many publishing houses do not accept unsolicited manuscripts, no matter how well written they are, and if they do, you might end up in the slush pile that gets touched upon once or twice every quarter. With a lot of other manuscripts, essay collections written by authors like yourself.

To avoid this, you would need an agent, someone who will pitch your essay collection to the correct publishing houses that, in turn, might want to sign you on. First, you need the right agent – someone who is established in the niche that is essay collections, and who has successfully worked with other authors who’ve published similar works, like biographies, autobiographies, and memoirs. Even so, your best bet might be an agent who’s worked with author’s who’ve published essay collections – or at least one or two authors. Next, it would be a good idea if the agent also has experience in publishing essay collections in similar topics to the ones in your collection.

Furthermore, the publishing house you will be aiming for – if you have a good agent, they will probably already know which publishing houses would be interested in publishing your work. However, if you do not have an agent yet and you still want to send your manuscripts to publishing houses that do accept unsolicited manuscripts, make sure it’s the right publishing houses – meaning, again, they will have published similar work before. Do not send your manuscript of essay collections to a publishing house – or an imprint of a publishing house – that publishes collections of short stories or anthologies. First, they will probably not sign you on, second, even if they do, their audience is not the right audience for your essay collection.

Again, even if you do get an agent, that agent will need something to work with, and not just your essays and the topics you’re covering. For example, sure, you might have written several essays on race and social injustice, but, today, there are many essay collections that deal with that topic, so, there has to be something about you – or your essays – that sets your work apart from all of those that have come before. Moreover, a publisher might reject your manuscript simply because you’re an unknown author who hasn’t established themselves yet, and, even though your essays are well written and have great insights into many problems of the world today, they might not sign you on because they don’t believe that your essay collection will sell well.

That’s why we can’t recommend this enough: create an online presence for yourself, first and foremost. Even if it takes you a year to actually publish your essay collection, start building that online presence right now. Moreover, there are different ways to use social media in a way that will benefit you, the author, and your brand (or the brand you will build around your name as an author). Be careful not to post something or say something online that will backfire on you in the future.

If you want to self-publish, do not do it immediately. Start with the online presence. Then, create a book page for your book on Goodreads. Set up a publication date some months in the future, and create a pre-order page on Amazon. Create a website and a blog, and connect your online presence with the website and the blog. Send out ARCs (advanced reading copies) to reviewers who have a following, and, more importantly, who have reviewed essay collections before. Try to gain traction by being a guest blogger with bloggers who focus on similar themes as yours, and who, ideally, have a large platform themselves and are willing to have you on their blog.

Ultimately, whichever publication route you take, prepare yourself for a lot of work and a lot of patience. It might be a while before your work sees the light of day. Make sure that your essays in the collection have a timeless value (for example, if your essay is talking about a topic that was prevalent and specific when you originally wrote it in 2014, it might not be quite relevant in 2021). More importantly, once you start building your author’s brand online, do not stop, and do not quit. Keep going, even if it takes you a while to build your platform – because, without it, all of your effort might not lead to the commercial success you want. And again, while a platform is no guarantee, it certainly will help to an extent.

Georgina Roy wants to live in a world filled with magic. As a screenwriting student, she is content to fill notebooks and sketchbooks with magical creatures and amazing new worlds. When she is not at school, watching a film or scribbling away in a notebook, you can usually find her curled up, reading a good urban fantasy novel, or writing on her own.

Example sentences collection of essays

This collection of essays by academic lawyers asks what wider lessons can be learnt from the successful prosecution.

This collection of essays makes those connections freshly visible, and has some satisfying artistic moments of its own.

His retirement in 1990 was marked by a collection of essays written in his honour by colleagues and former students.

To mark this, we've put together a collection of essays on this less talked about side of motherhood.

The editor of this collection of essays on translation holds practitioners in high esteem.

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Definition of 'essay' essay

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Organizing Academic Research Papers: Reviewing Collected Essays

• Purpose of Guide
• Design Flaws to Avoid
• Glossary of Research Terms
• Narrowing a Topic Idea
• Broadening a Topic Idea
• Extending the Timeliness of a Topic Idea
• Academic Writing Style
• Choosing a Title
• Making an Outline
• Paragraph Development
• Executive Summary
• Background Information
• The Research Problem/Question
• Theoretical Framework
• Citation Tracking
• Content Alert Services
• Evaluating Sources
• Primary Sources
• Secondary Sources
• Tertiary Sources
• What Is Scholarly vs. Popular?
• Qualitative Methods
• Quantitative Methods
• Using Non-Textual Elements
• Limitations of the Study
• Common Grammar Mistakes
• Avoiding Plagiarism
• Footnotes or Endnotes?
• Further Readings
• Annotated Bibliography
• Dealing with Nervousness
• Using Visual Aids
• Grading Someone Else's Paper
• How to Manage Group Projects
• Multiple Book Review Essay
• Reviewing Collected Essays
• About Informed Consent
• Writing Field Notes
• Writing a Policy Memo
• Writing a Research Proposal
• Acknowledgements

Collected essays vary in form and content [see below] but generally refers to a single book that contains essays [chapters] written by a variety of contributing authors. The overall work may cover a broad subject area, such as health care reform, or examine a narrow research problem, such as antitrust regulation in the clothing industry. Each chapter in a scholarly collected essay book is written by an expert in the field examining a particular aspect of that topic. Most collected essay works include a foreword or introductory chapter that summarizes current research in the field, placing the studies discussed by each author in the book within the larger scholarly context.

How to Approach Writing Your Review

Types of Collected Works

• Conference Proceedings --a collection of papers published as part of an academic conference or other gathering of professionals. The purpose is to inform a wider audience of the material presented at the conference as well as to document the work of scholars who have participated in that conference. Many conferences are held annually and, thus, the proceedings are published annually and may focus on a particular theme representing a cutting edge issue in the field [e.g., Proceedings of the 10th Annual International Conference on Digital Government Research--Social Networks: Making Connections between Citizens, Data, and Government ].
• Collection of an Author's Research --a collection of works by a distinguished scholar. The contents of collected works by a particular researcher can take the form of reprints of prior research or of selected reprints with a new introductory chapter by the author or an expert in the field that synthesizes and updates the overall status of research [e.g., The Nature of Politics: Selected Essays of Bertrand de Jouvenel . Edited and with an introduction by Dennis Hale and Marc Landy; Foreword by Wilson Carey McWilliams. New York: Schocken Books, 1987. xxxv, 254 pp.]
• Festschrift --a volume of articles or essays by colleagues and admirers that serve as a tribute or memorial to a preeminent scholar or public figure. The essays usually relate to, or reflect upon, an honoree's contributions to their scholarly field, but may include original research by the authors that build upon the research of the honoree [e.g., Social Cognition, Social Identity, and Intergroup Relations: A Festschrift in Honor of Marilynn B. Brewer . Roderick M. Kramer, Geoffrey J. Leonardelli, Robert W. Livingston, editors. New York: Psychology Press, 2011. xi, 423 pp.].
• Reader --a collection of scholarly papers, most often reprinted from journals, representing a cross-section of research about a particular topic. Most readers are intended to be used in the classroom. Readers serve to document the breadth and range of the most important research that has developed in a particular area of study and, often, as specified over a period of time [e.g., Companion Reader on Violence Against Women . Claire M. Renzetti, Jeffrey L. Edleson, Raquel Kennedy Bergen, editors. Thousand Oaks, CA: Sage Publications, 2012. x, 411 pp.].
• Reprints --sometimes in the form of a multi-volume set, this is a selective collection of previously published materials. Most frequently, reprints contain scholarly journal articles gathered together to form a comprehensive overview of prior research in a particular area of study.
• Thematic Articles --the most common form of collected works in the social sciences, this is a collection of new scholarly essays from multiple authors examining a particular research problem or topic.

Developing an Assessment Strategy for Each

The challenge with reviewing a book of collected essays is that you must begin by thinking critically about the research problem that underpins each of the individual essays, synthesizing the multiple arguments of multiple authors, and then clearly organizing those arguments into conceptual categories [themes] as you write your draft.

Here are some questions to ask yourself depending on the type of collected work you're reviewing . Note that all types require you to first identify the overarching subject of the book of collected essays.

• Conference Proceedings --what organization is sponsoring the conference? Is there a specific theme to the conference? Was the collection of papers selectively chosen or do the proceedings represent all papers presented at the conference? If not, how were the papers selected? Are the papers reprinted as they were presented or have they been updated or significantly edited prior to publication [this is often noted in the introduction]? Are the proceedings online and, if so, how might this facilitate access to additional materials? Is there foreword or an introductory chapter that effectively synthesizes the collection? Is it logically organized and include important front and back matter such as a table of contents and an index?
• Collection of an Author's Research --who is the author and why do you believe his or her work is important enough to be gathered together for publication? Is there an underlying theme or does the collection represent a "best of" collection? What may have been ommitted? Are any original works included or are the contents only reprints? Is there a bibliography of the all of the author's writings? Is there a foreword or an introductory chapter written by the author or a guest contributor that effectively synthesizes the collection? Is the book logically organized and include important front and back matter such as a table of contents and an index?
• Festschrift --who is being honored and why? Do the contributions represent essays of general tribute or do the contributions represent original research that builds upon the honoree's prior work? Is there a list of contributors and does it include biographical profiles of each that helps determine their relationship to the honoree? Is there a foreword or an introductory chapter that effectively synthesizes the collection? Is it logically organized and include important front and back matter such as a table of contents and an index?
• Reader --does the collection represent a broad spectrum of publications about a research topic or only a few? Are there underrepresented areas of research in the collection? Is there a list of editors/compilers and does it include biographical profiles of each? Are the contents reprinted in their entirity or is the text only excerpted? Are the reprints readily available through other means or do they represent a compilation of hard-to-find publications? Is there a foreword or an introductory chapter that effectively synthesizes the collection? Is it logically organized and include important front and back matter such as a table of contents and an index?
• Reprints --does the collection represent reprints from a variety of publications or only a few? Are there underrepresented areas of research in the collection? Are the reprints readily available through other means or do they represent a compilation of hard-to-find publications? Are the reprints from relatively current or older publications? Is there a foreword or an introductory chapter that effectively synthesizes the collection? Is it logically organized and include important front and back matter such as a table of contents and an index?
• Thematic Articles --how are the contents arranged? Do the contributions survey a broad area of research or do they examine multiple issues associated with a particular research problem? Is there a list of contributors and does it include biographical profiles of each? Do you the contributors come from one or a variety of institutions? Do the contributors all come from the United States or are there any international contributors? Is there foreword or an introductory chapter that effectively synthesizes the collection? Does the work include important front and back matter such as a table of contents and an index?

Structure and Writing Style

I. Bibliographic Information

Provide the essential information about the book using the writing style that your professor has asked to use for the course [e.g., APA, MLA, Chicago, etc.]. Depending on how your professor wants you to organize your review, the bibliograophic information represents the heading of your review. In general, it would look like this:

El Ghonemy, Mohamad Riad. Anti-Poverty Land Reform Issues Never Die: Collected Essays on Development Economics in Practice . (New York: Routledge, 2010. xx, 223 pp.)

Reviewed by [your name].

II. Scope/Purpose/Content

The first challenge in reviewing any type of collected essay work is to identify and summarize its overarching scope and purpose, with additional focus on describing how the book is organized and whether or not the arrangement of its individual parts facilitates and contributes to an understanding of the subject area. Most collected works include a general statement of purpose in the foreword or an introductory chapter. In some cases, the editor will discuss the scope and purpose at the beginning of each essay.

To help develop your own introductory thesis statement that covers all of the material, start by reviewing and taking notes about the aim and intent of each essay. Once completed, identify key issues and themes. For example, in a compilation of essays on environmental law, you may find the papers examine various legal approaches to environmental protection, describe alternatives to the law, and compare domestic and international issues. By identifying the overall themes, you create a framework from which you can cogently evaluate the contents.

As with any review, your introductory statement must be succinct, accurate, unbiased, and clear. However, given that you are reviewing a number of parts within a much larger work, you may need several paragraphs to provide a comprehensive overview of the book's overall scope, purpose, and content.

If you find it difficult to discern the overall aims and objectives of the collected essay work [and, be sure to point this out in your review if you believe it to be a deficiency], you may arrive at an understanding of the purpose by asking yourself a the following questions:

• Why did the contributing authors write on this subject rather than on some other subject? Why is it important?
• From what point of view is the work written? Do some essays take one stance while others investigate another or are they just a mish-mash of viewpoints?
• Were the authors trying to give information, to explain something technical, or to convince the reader of a belief’s validity by dramatizing it in action?
• What is the general field or genre, and how does the book fit into it? Review related literature from other books and journal articles to familiarize yourself with the field, if necessary.
• Who is the intended audience?
• What are each author's style? Do they clash or do they flow together? Is it formal or informal? You can evaluate the quality of the writing style by noting some of the following standards: coherence, clarity, originality, forcefulness, correct use of technical words, conciseness, fullness of development, and fluidity.
• Scan the Table of Contents because it can help you understand how the book is organized and will aid in determining the main ideas covered and how they are developed [e.g., chronologically, topically, thematically, etc.]
• How did the book affect you? Were any prior assumptions you had on the subject changed, abandoned, or reinforced due to this book? Did some essays stand out more than others? In what ways?
• How is the book related to your own course or personal agenda? What personal experiences have you had that relate to the subject?
• How well has the book achieved its goal(s)?
• Would you recommend the book to others? Why or why not?

III.  Critically Evaluate the Contents

Critical comments should form the b ulk of your book review . A good method for reviewing a collected work is to follow the arrangement of contents, particularly if the essays are grouped in a particular way, and to frame the analysis in the context of the key issues and themes you identified in the introduction. State whether or not you feel the overall treatment of the subject matter is appropriate for the intended audience. Ask yourself:

• Has the purpose of the book been achieved?
• Have all of the essays contributed something important to the overall purpose? If not, how have some author's failed to add something meaningful?
• What contribution does the book make to the field?
• Is the treatment of the subject matter unbiased?
• Are there facts and evidence that have been omitted?
• What kinds of data, if any, are used to support the author's thesis statement?
• Can the same data be interpreted to alternate ends?
• Is the writing style clear and effective?
• Does the book raise important or provocative issues or topics for discussion and further research?

Support your evaluation with evidence from the text and, when possible, in relation to other sources.Do not evaluate each essay one at a time but group the analysis around  the key issues and themes you first identified. If relevant, make note of the book's format, such as, layout, binding, typography, etc. Do some or all of the essays include tables, charts, maps, illustrations, or other non-textual elements? Do they aid in understanding the research problem?

IV.  Examine the Front Matter and Back Matter

Back matter refers to any information included after the final chapter of the book. Front matter refers to anything before the first chapter. Front matter is most often numbered separately from the rest of the text in lower case Roman numerals [i.e. i-xi ]. Critical commentary about front or back matter is generally only necessary if you believe there is something that diminishes the overall quality of the work or there is something that is particularly helpful in understanding the book's contents.

The following back matter may be included in a book and should be considered for evaluation when reviewing the overall quality of the book:

• Table of contents --is it clear? Does it reflect the true contents of the book?
• Author biography --also found as back matter, the biography of author(s) can be useful in determining the authority of the writer and whether the book builds on prior research or represents new research. In scholarly reviews, noting the author's affiliation can be a factor in helping the reader determine the overall validity of work [i.e., are they associated with a research center devoted to studying the research problem under investigation].
• Foreword --in a scholarly books, a foreword may be written by the author or an expert on the subject of the book. The purpose of a foreword is to introduce the reader to the author as well as the book itself, and attempt to establish credibility for both. A foreword does not contribute any additional information about the book's subject matter, but it serves as a means of validating the book's existence. Later editions of a book sometimes have a new foreword prepended [appearing before an older foreword if there was one], which might explain in what respects that edition differs from previous ones.
• Preface --generally describes the genesis, purpose, limitations, and scope of the book and may include acknowledgments of indebtedness to people who have helped the author complete the study. Is the preface helpful in understanding the study? Does it effectively provide a framework for what's to follow? A Preface is often very important to understanding the overall purpose oft he collected work.
• Chronology --also found as back matter, a chronology is generally included to highlight key events related to the subject of the book. Does it contribute to the overall work? Is it detailed or very general?
• List of non-textual elements --if a book contains a lot of charts, photographs, maps, etc., they will often be listed in the front.
• Afterword --this is a short, reflective piece written by the author that takes the form of a concluding section, final commentary, or closing statement. It is worth mentioning in a review if it contributes information about the purpose of the book, gives a call to action, or asks the reader to consider key points made in the book.
• Appendix/appendices --is the supplementary material in the appendix or appendices well organized? Do they relate to the contents or appear superfluous? Does it contain any essential information that would have been more appropriately integrated into the text?
• Index --is the index thorough and accurate? Are there elements such as bold text, to help identify specific parts of the book?
• Glossary --are the definitions clearly written? Is the glossary comprehensive or are key terms missing?
• Endotes/Footnotes --check any end notes or footnotes as you read from essay to essay. Do they provide important additional information? Do they clarify or extend points made in the body of the text?
• Bibliography/Further Readings --review any bibliography or further readings the author may have included. What kinds of sources [e.g., primary or secondary, recent or old, scholarly or popular, etc.] appear in the bibliography? How does the author make use of them? Make note of important omissions.

V.  Summarize and Comment

State your general conclusions succinctly. Pay particular attention to any capstone chapter that summarizes the work. Collected works often have one. List the principal topics, and briefly summarize the key themes and issues, main points, and conclusions. If appropriate and to help clarify your overall evaluation, use specific references and quotations to support your statements. If your thesis has been well argued, the conclusion should follow naturally. It can include a final assessment or simply restate your thesis. Do not introduce new information or ideas in the conclusion.

Bazerman, Charles. Comparing and Synthesizing Sources . The Informed Writer: Using Sources in the Disciplines. Writing@CSU. Colorado State University; Book Reviews . Writing@CSU. Colorado State University; Book Reviews . The Writing Center. University of North Carolina; Writing a Book Review . The Writing Lab and The OWL. Purdue University; Rhetorical Strategies: Comparison and Contrast . The Reading/Writing Center. Hunter College; Visvis, Vikki and Jerry Plotnick. The Comparative Essay . The Lab Report. University College Writing Centre. University of Toronto; Writing Book Reviews. Writing Tutorial Services, Center for Innovative Teaching and Learning. Indiana University.

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What is Essay? Definition, Usage, and Literary Examples

Essay definition.

An essay (ES-ey) is a nonfiction composition that explores a concept, argument, idea, or opinion from the personal perspective of the writer. Essays are usually a few pages, but they can also be book-length. Unlike other forms of nonfiction writing, like textbooks or biographies, an essay doesn’t inherently require research. Literary essayists are conveying ideas in a more informal way.

The word essay comes from the Late Latin exigere , meaning “ascertain or weigh,” which later became essayer in Old French. The late-15th-century version came to mean “test the quality of.” It’s this latter derivation that French philosopher Michel de Montaigne first used to describe a composition.

History of the Essay

Michel de Montaigne first coined the term essayer to describe Plutarch’s Oeuvres Morales , which is now widely considered to be a collection of essays. Under the new term, Montaigne wrote the first official collection of essays, Essais , in 1580. Montaigne’s goal was to pen his personal ideas in prose . In 1597, a collection of Francis Bacon’s work appeared as the first essay collection written in English. The term essayist was first used by English playwright Ben Jonson in 1609.

Types of Essays

There are many ways to categorize essays. Aldous Huxley, a leading essayist, determined that there are three major groups: personal and autobiographical, objective and factual, and abstract and universal. Within these groups, several other types can exist, including the following:

• Academic Essays : Educators frequently assign essays to encourage students to think deeply about a given subject and to assess the student’s knowledge. As such, an academic essay employs a formal language and tone, and it may include references and a bibliography. It’s objective and factual, and it typically uses a five-paragraph model of an introduction, two or more body paragraphs, and a conclusion. Several other essay types, like descriptive, argumentative, and expository, can fall under the umbrella of an academic essay.
• Analytical Essays : An analytical essay breaks down and interprets something, like an event, piece of literature, or artwork. This type of essay combines abstraction and personal viewpoints. Professional reviews of movies, TV shows, and albums are likely the most common form of analytical essays that people encounter in everyday life.
• Argumentative/Persuasive Essays : In an argumentative or persuasive essay, the essayist offers their opinion on a debatable topic and refutes opposing views. Their goal is to get the reader to agree with them. Argumentative/persuasive essays can be personal, factual, and even both at the same time. They can also be humorous or satirical; Jonathan Swift’s A Modest Proposal is a satirical essay arguing that the best way for Irish people to get out of poverty is to sell their children to rich people as a food source.
• Descriptive Essays : In a descriptive essay, the essayist describes something, someone, or an event in great detail. The essay’s subject can be something concrete, meaning it can be experienced with any or all of the five senses, or abstract, meaning it can’t be interacted with in a physical sense.
• Expository Essay : An expository essay is a factual piece of writing that explains a particular concept or issue. Investigative journalists often write expository essays in their beat, and things like manuals or how-to guides are also written in an expository style.
• Narrative/Personal : In a narrative or personal essay, the essayist tells a story, which is usually a recounting of a personal event. Narrative and personal essays may attempt to support a moral or lesson. People are often most familiar with this category as many writers and celebrities frequently publish essay collections.

Notable Essayists

• James Baldwin, “ Notes of a Native Son ”
• Joan Didion, “ Goodbye To All That ”
• George Orwell, “ Shooting an Elephant ”
• Ralph Waldo Emerson, “ Self-Reliance ”
• Virginia Woolf, " Three Guineas "

Examples of Literary Essays

1. Michel De Montaigne, “Of Presumption”

De Montaigne’s essay explores multiple topics, including his reasons for writing essays, his dissatisfaction with contemporary education, and his own victories and failings. As the father of the essay, Montaigne details characteristics of what he thinks an essay should be. His writing has a stream-of-consciousness organization that doesn’t follow a structure, and he expresses the importance of looking inward at oneself, pointing to the essay’s personal nature.

2. Virginia Woolf, “A Room of One’s Own”

Woolf’s feminist essay, written from the perspective of an unknown, fictional woman, argues that sexism keeps women from fully realizing their potential. Woolf posits that a woman needs only an income and a room of her own to express her creativity. The fictional persona Woolf uses is meant to teach the reader a greater truth: making both literal and metaphorical space for women in the world is integral to their success and wellbeing.

3. James Baldwin, “Everybody’s Protest Novel”

In this essay, Baldwin argues that Harriet Beecher Stowe’s novel Uncle Tom’s Cabin doesn’t serve the black community the way his contemporaries thought it did. He points out that it equates “goodness” with how well-assimilated the black characters are in white culture:

Uncle Tom’s Cabin is a very bad novel, having, in its self-righteous, virtuous sentimentality, much in common with Little Women. Sentimentality […] is the mark of dishonesty, the inability to feel; […] and it is always, therefore, the signal of secret and violent inhumanity, the mask of cruelty.

This essay is both analytical and argumentative. Baldwin analyzes the novel and argues against those who champion it.

Further Resources on Essays

Top Writing Tips offers an in-depth history of the essay.

The Harvard Writing Center offers tips on outlining an essay.

We at SuperSummary have an excellent essay writing resource guide .

Related Terms

• Academic Essay
• Argumentative Essay
• Expository Essay
• Narrative Essay
• Persuasive Essay

The Essay: History and Definition

Attempts at Defining Slippery Literary Form

• An Introduction to Punctuation
• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

"One damned thing after another" is how Aldous Huxley described the essay: "a literary device for saying almost everything about almost anything."

As definitions go, Huxley's is no more or less exact than Francis Bacon's "dispersed meditations," Samuel Johnson's "loose sally of the mind" or Edward Hoagland's "greased pig."

Since Montaigne adopted the term "essay" in the 16th century to describe his "attempts" at self-portrayal in prose , this slippery form has resisted any sort of precise, universal definition. But that won't an attempt to define the term in this brief article.

In the broadest sense, the term "essay" can refer to just about any short piece of nonfiction  -- an editorial, feature story, critical study, even an excerpt from a book. However, literary definitions of a genre are usually a bit fussier.

One way to start is to draw a distinction between articles , which are read primarily for the information they contain, and essays, in which the pleasure of reading takes precedence over the information in the text . Although handy, this loose division points chiefly to kinds of reading rather than to kinds of texts. So here are some other ways that the essay might be defined.

Standard definitions often stress the loose structure or apparent shapelessness of the essay. Johnson, for example, called the essay "an irregular, indigested piece, not a regular and orderly performance."

True, the writings of several well-known essayists ( William Hazlitt and Ralph Waldo Emerson , for instance, after the fashion of Montaigne) can be recognized by the casual nature of their explorations -- or "ramblings." But that's not to say that anything goes. Each of these essayists follows certain organizing principles of his own.

Oddly enough, critics haven't paid much attention to the principles of design actually employed by successful essayists. These principles are rarely formal patterns of organization , that is, the "modes of exposition" found in many composition textbooks. Instead, they might be described as patterns of thought -- progressions of a mind working out an idea.

Unfortunately, the customary divisions of the essay into opposing types --  formal and informal, impersonal and familiar  -- are also troublesome. Consider this suspiciously neat dividing line drawn by Michele Richman:

Post-Montaigne, the essay split into two distinct modalities: One remained informal, personal, intimate, relaxed, conversational and often humorous; the other, dogmatic, impersonal, systematic and expository .

The terms used here to qualify the term "essay" are convenient as a kind of critical shorthand, but they're imprecise at best and potentially contradictory. Informal can describe either the shape or the tone of the work -- or both. Personal refers to the stance of the essayist, conversational to the language of the piece, and expository to its content and aim. When the writings of particular essayists are studied carefully, Richman's "distinct modalities" grow increasingly vague.

But as fuzzy as these terms might be, the qualities of shape and personality, form and voice, are clearly integral to an understanding of the essay as an artful literary kind. 

Many of the terms used to characterize the essay -- personal, familiar, intimate, subjective, friendly, conversational -- represent efforts to identify the genre's most powerful organizing force: the rhetorical voice or projected character (or persona ) of the essayist.

In his study of Charles Lamb , Fred Randel observes that the "principal declared allegiance" of the essay is to "the experience of the essayistic voice." Similarly, British author Virginia Woolf has described this textual quality of personality or voice as "the essayist's most proper but most dangerous and delicate tool."

Similarly, at the beginning of "Walden, "  Henry David Thoreau reminds the reader that "it is ... always the first person that is speaking." Whether expressed directly or not, there's always an "I" in the essay -- a voice shaping the text and fashioning a role for the reader.

Fictional Qualities

The terms "voice" and "persona" are often used interchangeably to suggest the rhetorical nature of the essayist himself on the page. At times an author may consciously strike a pose or play a role. He can, as E.B. White confirms in his preface to "The Essays," "be any sort of person, according to his mood or his subject matter." 

In "What I Think, What I Am," essayist Edward Hoagland points out that "the artful 'I' of an essay can be as chameleon as any narrator in fiction." Similar considerations of voice and persona lead Carl H. Klaus to conclude that the essay is "profoundly fictive":

It seems to convey the sense of human presence that is indisputably related to its author's deepest sense of self, but that is also a complex illusion of that self -- an enactment of it as if it were both in the process of thought and in the process of sharing the outcome of that thought with others.

But to acknowledge the fictional qualities of the essay isn't to deny its special status as nonfiction.

Reader's Role

A basic aspect of the relationship between a writer (or a writer's persona) and a reader (the implied audience ) is the presumption that what the essayist says is literally true. The difference between a short story, say, and an autobiographical essay  lies less in the narrative structure or the nature of the material than in the narrator's implied contract with the reader about the kind of truth being offered.

Under the terms of this contract, the essayist presents experience as it actually occurred -- as it occurred, that is, in the version by the essayist. The narrator of an essay, the editor George Dillon says, "attempts to convince the reader that its model of experience of the world is valid." 

In other words, the reader of an essay is called on to join in the making of meaning. And it's up to the reader to decide whether to play along. Viewed in this way, the drama of an essay might lie in the conflict between the conceptions of self and world that the reader brings to a text and the conceptions that the essayist tries to arouse.

At Last, a Definition—of Sorts

With these thoughts in mind, the essay might be defined as a short work of nonfiction, often artfully disordered and highly polished, in which an authorial voice invites an implied reader to accept as authentic a certain textual mode of experience.

Sure. But it's still a greased pig.

Sometimes the best way to learn exactly what an essay is -- is to read some great ones. You'll find more than 300 of them in this collection of  Classic British and American Essays and Speeches .

• What is a Familiar Essay in Composition?
• What Does "Persona" Mean?
• What Are the Different Types and Characteristics of Essays?
• Rhetorical Analysis Definition and Examples
• What Is a Personal Essay (Personal Statement)?
• The Writer's Voice in Literature and Rhetoric
• Point of View in Grammar and Composition
• What Is Colloquial Style or Language?
• What Is Literary Journalism?
• Definition and Examples of Formal Essays
• What Is Expository Writing?
• The Difference Between an Article and an Essay
• First-Person Point of View
• What Is Tone In Writing?
• What is an Implied Author?

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The 10 Best Essay Collections of the Decade

Ever tried. ever failed. no matter..

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

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

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

The Top Ten

Oliver sacks, the mind’s eye (2010).

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

John Jeremiah Sullivan, Pulphead (2011)

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

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

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

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

Aleksandar Hemon, The Book of My Lives (2013)

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

Robin Wall Kimmerer, Braiding Sweetgrass (2013)

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

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

Hilton Als, White Girls (2013)

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

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

Eula Biss, On Immunity (2014)

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

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

Rebecca Solnit, The Mother of All Questions (2016)

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

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

Valeria Luiselli, Tell Me How It Ends (2017)

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

Zadie Smith, Feel Free (2018)

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

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

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

Dissenting Opinions

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

Elif Batuman, The Possessed (2010)

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

Roxane Gay, Bad Feminist (2014)

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

Rivka Galchen, Little Labors (2016)

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

Charlie Fox, This Young Monster (2017)

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

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

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

Elena Passarello, Animals Strike Curious Poses (2017)

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

Esmé Weijun Wang, The Collected Schizophrenias (2019)

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

Ross Gay, The Book of Delights (2019)

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

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

Honorable Mentions

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

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

Emily Temple

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Federalist Papers

By: History.com Editors

Updated: June 22, 2023 | Original: November 9, 2009

The Federalist Papers are a collection of essays written in the 1780s in support of the proposed U.S. Constitution and the strong federal government it advocated. In October 1787, the first in a series of 85 essays arguing for ratification of the Constitution appeared in the Independent Journal , under the pseudonym “Publius.” Addressed to “The People of the State of New York,” the essays were actually written by the statesmen Alexander Hamilton , James Madison and John Jay . They would be published serially from 1787-88 in several New York newspapers. The first 77 essays, including Madison’s famous Federalist 10 and Federalist 51 , appeared in book form in 1788. Titled The Federalist , it has been hailed as one of the most important political documents in U.S. history.

Articles of Confederation

As the first written constitution of the newly independent United States, the Articles of Confederation nominally granted Congress the power to conduct foreign policy, maintain armed forces and coin money.

But in practice, this centralized government body had little authority over the individual states, including no power to levy taxes or regulate commerce, which hampered the new nation’s ability to pay its outstanding debts from the Revolutionary War .

In May 1787, 55 delegates gathered in Philadelphia to address the deficiencies of the Articles of Confederation and the problems that had arisen from this weakened central government.

A New Constitution

The document that emerged from the Constitutional Convention went far beyond amending the Articles, however. Instead, it established an entirely new system, including a robust central government divided into legislative , executive and judicial branches.

As soon as 39 delegates signed the proposed Constitution in September 1787, the document went to the states for ratification, igniting a furious debate between “Federalists,” who favored ratification of the Constitution as written, and “Antifederalists,” who opposed the Constitution and resisted giving stronger powers to the national government.

The Rise of Publius

In New York, opposition to the Constitution was particularly strong, and ratification was seen as particularly important. Immediately after the document was adopted, Antifederalists began publishing articles in the press criticizing it.

They argued that the document gave Congress excessive powers and that it could lead to the American people losing the hard-won liberties they had fought for and won in the Revolution.

In response to such critiques, the New York lawyer and statesman Alexander Hamilton, who had served as a delegate to the Constitutional Convention, decided to write a comprehensive series of essays defending the Constitution, and promoting its ratification.

Who Wrote the Federalist Papers?

As a collaborator, Hamilton recruited his fellow New Yorker John Jay, who had helped negotiate the treaty ending the war with Britain and served as secretary of foreign affairs under the Articles of Confederation. The two later enlisted the help of James Madison, another delegate to the Constitutional Convention who was in New York at the time serving in the Confederation Congress.

To avoid opening himself and Madison to charges of betraying the Convention’s confidentiality, Hamilton chose the pen name “Publius,” after a general who had helped found the Roman Republic. He wrote the first essay, which appeared in the Independent Journal, on October 27, 1787.

In it, Hamilton argued that the debate facing the nation was not only over ratification of the proposed Constitution, but over the question of “whether societies of men are really capable or not of establishing good government from reflection and choice, or whether they are forever destined to depend for their political constitutions on accident and force.”

After writing the next four essays on the failures of the Articles of Confederation in the realm of foreign affairs, Jay had to drop out of the project due to an attack of rheumatism; he would write only one more essay in the series. Madison wrote a total of 29 essays, while Hamilton wrote a staggering 51.

Federalist Papers Summary

In the Federalist Papers, Hamilton, Jay and Madison argued that the decentralization of power that existed under the Articles of Confederation prevented the new nation from becoming strong enough to compete on the world stage or to quell internal insurrections such as Shays’s Rebellion .

In addition to laying out the many ways in which they believed the Articles of Confederation didn’t work, Hamilton, Jay and Madison used the Federalist essays to explain key provisions of the proposed Constitution, as well as the nature of the republican form of government.

'Federalist 10'

In Federalist 10 , which became the most influential of all the essays, Madison argued against the French political philosopher Montesquieu ’s assertion that true democracy—including Montesquieu’s concept of the separation of powers—was feasible only for small states.

A larger republic, Madison suggested, could more easily balance the competing interests of the different factions or groups (or political parties ) within it. “Extend the sphere, and you take in a greater variety of parties and interests,” he wrote. “[Y]ou make it less probable that a majority of the whole will have a common motive to invade the rights of other citizens[.]”

After emphasizing the central government’s weakness in law enforcement under the Articles of Confederation in Federalist 21-22 , Hamilton dove into a comprehensive defense of the proposed Constitution in the next 14 essays, devoting seven of them to the importance of the government’s power of taxation.

Madison followed with 20 essays devoted to the structure of the new government, including the need for checks and balances between the different powers.

'Federalist 51'

“If men were angels, no government would be necessary,” Madison wrote memorably in Federalist 51 . “If angels were to govern men, neither external nor internal controls on government would be necessary.”

After Jay contributed one more essay on the powers of the Senate , Hamilton concluded the Federalist essays with 21 installments exploring the powers held by the three branches of government—legislative, executive and judiciary.

Impact of the Federalist Papers

Despite their outsized influence in the years to come, and their importance today as touchstones for understanding the Constitution and the founding principles of the U.S. government, the essays published as The Federalist in 1788 saw limited circulation outside of New York at the time they were written. They also fell short of convincing many New York voters, who sent far more Antifederalists than Federalists to the state ratification convention.

Still, in July 1788, a slim majority of New York delegates voted in favor of the Constitution, on the condition that amendments would be added securing certain additional rights. Though Hamilton had opposed this (writing in Federalist 84 that such a bill was unnecessary and could even be harmful) Madison himself would draft the Bill of Rights in 1789, while serving as a representative in the nation’s first Congress.

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Ron Chernow, Hamilton (Penguin, 2004). Pauline Maier, Ratification: The People Debate the Constitution, 1787-1788 (Simon & Schuster, 2010). “If Men Were Angels: Teaching the Constitution with the Federalist Papers.” Constitutional Rights Foundation . Dan T. Coenen, “Fifteen Curious Facts About the Federalist Papers.” University of Georgia School of Law , April 1, 2007. 

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Definition Essay

Definition Essay - Writing Guide, Examples and Tips

14 min read

Published on: Oct 9, 2020

Last updated on: Jan 31, 2024

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Interesting Definition Essay Topics for Students

Definition Essay Outline - Format & Guide

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Many students struggle with writing definition essays due to a lack of clarity and precision in their explanations.

This obstructs them from effectively conveying the essence of the terms or concepts they are tasked with defining. Consequently, the essays may lack coherence, leaving readers confused and preventing them from grasping the intended meaning.

But don’t worry!

In this guide, we will delve into effective techniques and step-by-step approaches to help students craft an engaging definition essay.

Continue reading to learn the correct formation of a definition essay. 

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What is a Definition Essay?

Just as the name suggests, a definition essay defines and explains a term or a concept. Unlike a narrative essay, the purpose of writing this essay is only to inform the readers.

Writing this essay type can be deceivingly tricky. Some terms, concepts, and objects have concrete definitions when explained. In contrast others are solely based on the writer’s understanding and point of view.

A definition essay requires a writer to use different approaches when discussing a term. These approaches are the following:

• Denotation - It is when you provide a literal or academic definition of the term.
• Connotation - It is when the writer provides an implied meaning or definition of the term.
• Enumeration - For this approach, a list is employed to define a term or a concept.
• Analogy - It is a technique in which something is defined by implementing a comparison.
• Negation - It is when you define a term by stating what it is not.

A single or combination of approaches can be used in the essay. 

Definition Essay Types

There are several types of definition essays that you may be asked to write, depending on the purpose and scope of the assignment. 

In this section, we will discuss some of the most common types of definition essays.

Descriptive Definition Essay 

This type of essay provides a detailed description of a term or concept, emphasizing its key features and characteristics. 

The goal of a descriptive definition essay is to help readers understand the term or concept in a more profound way.

Stipulative Definition Essay 

In a stipulative definition essay, the writer provides a unique definition of a term or concept. This type of essay is often used in academic settings to define a term in a particular field of study. 

The goal of a stipulative definition essay is to provide a precise and clear definition that is specific to the context of the essay.

Analytical Definition Essay 

This compare and contrast essay type involves analyzing a term or concept in-depth. Breaking it down into its component parts, and examining how they relate to each other. 

The goal of an analytical definition essay is to provide a more nuanced and detailed understanding of the term or concept being discussed.

Persuasive Definition Essay 

A persuasive definition essay is an argumentative essay that aims to persuade readers to accept a particular definition of a term or concept.

The writer presents their argument for the definition and uses evidence and examples to support their position.

Explanatory Definition Essay 

An explanatory definition essay is a type of expository essay . It aims to explain a complex term or concept in a way that is easy to understand for the reader. 

The writer breaks down the term or concept into simpler parts and provides examples and analogies to help readers understand it better.

Extended Definition Essay 

An extended definition essay goes beyond the definition of a word or concept and provides a more in-depth analysis and explanation. 

The goal of an extended definition essay is to provide a comprehensive understanding of a term, concept, or idea. This includes its history, origins, and cultural significance. 

How to Write a Definition Essay?

Writing a definition essay is simple if you know the correct procedure. This essay, like all the other formal pieces of documents, requires substantial planning and effective execution.

The following are the steps involved in writing a definition essay effectively:

Instead of choosing a term that has a concrete definition available, choose a word that is complicated . Complex expressions have abstract concepts that require a writer to explore deeper. Moreover, make sure that different people perceive the term selected differently. 

Once you have a word to draft your definition essay for, read the dictionary. These academic definitions are important as you can use them to compare your understanding with the official concept.

Drafting a definition essay is about stating the dictionary meaning and your explanation of the concept. So the writer needs to have some information about the term.

In addition to this, when exploring the term, make sure to check the term’s origin. The history of the word can make you discuss it in a better way.

Coming up with an exciting title for your essay is important. The essay topic will be the first thing that your readers will witness, so it should be catchy.

Creatively draft an essay topic that reflects meaning. In addition to this, the usage of the term in the title should be correctly done. The readers should get an idea of what the essay is about and what to expect from the document.

Now that you have a topic in hand, it is time to gather some relevant information. A definition essay is more than a mere explanation of the term. It represents the writer’s perception of the chosen term and the topic.

So having only personal opinions will not be enough to defend your point. Deeply research and gather information by consulting credible sources.

The gathered information needs to be organized to be understandable. The raw data needs to be arranged to give a structure to the content.

Here's a generic outline for a definition essay:

Are you searching for an in-depth guide on crafting a well-structured definition essay?Check out this definition essay outline blog!

6. Write the First Draft

Drafting each section correctly is a daunting task. Understanding what or what not to include in these sections requires a writer to choose wisely.

The start of your essay matters a lot. If it is on point and attractive, the readers will want to read the text. As the first part of the essay is the introduction , it is considered the first impression of your essay.

To write your definition essay introduction effectively, include the following information:

• Start your essay with a catchy hook statement that is related to the topic and the term chosen.
• State the generally known definition of the term. If the word chosen has multiple interpretations, select the most common one.
• Provide background information precisely. Determine the origin of the term and other relevant information.
• Shed light on the other unconventional concepts and definitions related to the term.
• Decide on the side or stance you want to pick in your essay and develop a thesis statement .

After briefly introducing the topic, fully explain the concept in the body section . Provide all the details and evidence that will support the thesis statement. To draft this section professionally, add the following information:

• A detailed explanation of the history of the term.
• Analysis of the dictionary meaning and usage of the term.
• A comparison and reflection of personal understanding and the researched data on the concept.

Once all the details are shared, give closure to your discussion. The last paragraph of the definition essay is the conclusion . The writer provides insight into the topic as a conclusion.

The concluding paragraphs include the following material:

• Summary of the important points.
• Restated thesis statement.
• A final verdict on the topic.

7. Proofread and Edit

Although the writing process ends with the concluding paragraph, there is an additional step. It is important to proofread the essay once you are done writing. Proofread and revise your document a couple of times to make sure everything is perfect.

Before submitting your assignment, make edits, and fix all mistakes and errors.

If you want to learn more about how to write a definition essay, here is a video guide for you!

Definition Essay Structure 

The structure of a definition essay is similar to that of any other academic essay. It should consist of an introduction, body paragraphs, and a conclusion. 

However, the focus of a definition essay is on defining and explaining a particular term or concept. 

In this section, we will discuss the structure of a definition essay in detail.

Introduction 

Get the idea of writing an introduction for a definition essay with this example:

Body Paragraphs

Here is an example of how to craft your definition essay body paragraph:

Types of the Term/Concept 

If applicable, the writer may want to include a section that discusses the different types or categories of the term or concept being defined. 

This section should explain the similarities and differences between the types, using examples and anecdotes to illustrate the points.

Examples of the Term/Concept in Action 

The writer should also include real-life examples of the term or concept being defined in action. 

This will help the reader better understand the term or concept in context and how it is used in everyday life.

Conclusion 

This example will help you writing a conclusion fo you essay:

Definition Essay Examples

It is important to go through some examples and samples before writing an essay. This is to understand the writing process and structure of the assigned task well.

Following are some examples of definition essays to give our students a better idea of the concept. 

Understanding the Definition Essay

Definition Essay Example

Definition Essay About Friendship

Definition Essay About Love

Family Definition Essay

Success Definition Essay

Beauty Definition Essay

Definition Essay Topics

Selecting the right topic is challenging for other essay types. However, picking a suitable theme for a definition essay is equally tricky yet important. Pick an interesting subject to ensure maximum readership.

If you are facing writer’s block, here is a list of some great definition essay topics for your help. Choose from the list below and draft a compelling essay.

• Authenticity
• Sustainability
• Mindfulness

Here are some more extended definition essay topics:

• Social media addiction
• Ethical implications of gene editing
• Personalized learning in the digital age
• Ecosystem services
• Cultural assimilation versus cultural preservation
• Sustainable fashion
• Gender equality in the workplace
• Financial literacy and its impact on personal finance
• Ethical considerations in artificial intelligence
• Welfare state and social safety nets

Need more topics? Check out this definition essay topics blog!

Definition Essay Writing Tips

Knowing the correct writing procedure is not enough if you are not aware of the essay’s small technicalities. To help students write a definition essay effortlessly, expert writers of CollegeEssay.org have gathered some simple tips.

These easy tips will make your assignment writing phase easy.

• Choose an exciting yet informative topic for your essay.
• When selecting the word, concept, or term for your essay, make sure you have the knowledge.
• When consulting a dictionary for the definition, provide proper referencing as there are many choices available.
• To make the essay informative and credible, always provide the origin and history of the term.
• Highlight different meanings and interpretations of the term.
• Discuss the transitions and evolution in the meaning of the term in any.
• Provide your perspective and point of view on the chosen term.

Following these tips will guarantee you better grades in your academics.

By following the step-by-step approach explained in this guide, you will acquire the skills to craft an outstanding essay. 

Struggling with the thought, " write my college essay for m e"? Look no further.

Our dedicated definition essay writing service is here to craft the perfect essay that meets your academic needs.

For an extra edge, explore our AI essay writer , a tool designed to refine your essays to perfection. 

Barbara P (Literature, Marketing)

Barbara is a highly educated and qualified author with a Ph.D. in public health from an Ivy League university. She has spent a significant amount of time working in the medical field, conducting a thorough study on a variety of health issues. Her work has been published in several major publications.

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Organizing Your Social Sciences Research Assignments

• Annotated Bibliography
• Analyzing a Scholarly Journal Article
• Group Presentations
• Dealing with Nervousness
• Using Visual Aids
• Grading Someone Else's Paper
• Types of Structured Group Activities
• Group Project Survival Skills
• Leading a Class Discussion
• Multiple Book Review Essay
• Reviewing Collected Works
• Writing a Case Analysis Paper
• Writing a Case Study
• About Informed Consent
• Writing Field Notes
• Writing a Policy Memo
• Writing a Reflective Paper
• Writing a Research Proposal
• Generative AI and Writing
• Acknowledgments

A collected work can vary in form and content [see below], but it is generally a single volume containing chapters written by different authors [often referred to as "contributors"] under the guidance of an editor or editors. The book may cover a broad subject area, such as health care reform, or closely examine a specific research problem, such as antitrust regulation in the airline industry. Each chapter is written by an expert in the field examining a particular aspect of that topic. Most books of collected essays include a foreword or introductory chapter written by the editor(s) summarizing current research about the topic and placing the essays within the context of advancing knowledge about the topic.

Hartley, James. "The Anatomy of a Book Review." Journal of Technical Writing and Communication 40 (2010): 473-487; Oinas, Päivi and Samuli Leppälä. "Views on Book Reviews." Regional Studies 47 (2013): 1785-1789.

How to Approach Writing Your Review

Types of Collected Works

• Conference Proceedings -- a collection of papers published as part of an academic conference or other gathering of professionals. The purpose is to inform a wider audience of the papers presented at the conference and to document the work of scholars who have participated in that conference. Many conferences are held annually and, thus, the proceedings are published each year. Some proceedings focus on a particular theme representing a cutting edge issue in the field [e.g., Chun, Soon Ae. Proceedings of the 10th Annual International Conference on Digital Government Research: May 17-20, 2009 . New York: ACM Press, 2009].
• Collection of an Author's Research -- a collection of works by a distinguished scholar. The contents of collected works can take the form of reprints of prior research or of selected reprints with a new introductory chapter by the author or an expert in the field that synthesizes and updates the overall status of research [e.g., The Nature of Politics: Selected Essays of Bertrand de Jouvenel . Edited and with an introduction by Dennis Hale and Marc Landy; Foreword by Wilson Carey McWilliams. New York: Schocken Books, 1987. xxxv, 254 pp.]
• Festschrift -- a volume of essays written by by colleagues and admirers that serve as a tribute or memorial to a preeminent scholar or public figure. The essays usually relate to, or reflect upon, the honoree's contributions to their field of study, but may also include original research by the authors that build upon the research of the honoree [e.g., Social Cognition, Social Identity, and Intergroup Relations: A Festschrift in Honor of Marilynn B. Brewer . Roderick M. Kramer, Geoffrey J. Leonardelli, Robert W. Livingston, editors. New York: Psychology Press, 2011. xi, 423 pp.].
• Reader -- a collection of articles, most often reprinted from scholarly journals, representing a cross-section of research about a particular topic. Most readers are intended to be used in the classroom. Readers serve to document the breadth and range of the important research that has developed in a particular area of study over a specified period of time [e.g., Companion Reader on Violence Against Women . Claire M. Renzetti, Jeffrey L. Edleson, Raquel Kennedy Bergen, editors. Thousand Oaks, CA: Sage Publications, 2012. x, 411 pp.].
• Reprints -- sometimes in the form of a multi-volume set, this is a selective collection of previously published materials. Most frequently, reprints contain scholarly journal articles gathered together to form a comprehensive overview of prior research in a particular area of study [e.g., Brooks, Thom, editor. Rawls and Law . Burlington, VT: Ashgate, 2012].
• Thematic Articles -- the most common form of collected works in the social sciences, this is a collection of new research studies from multiple authors examining a particular research problem or topic. This can be in the form of a book or the issue of a journal [e.g., “Monitoring Social Mobility in the Twenty-First Century.” Edited by David B. Grusky, Timothy M. Smeeding and C. Matthew Snipp. The ANNALS of the American Academy of Political and Social Science 657 (January 2015): 1-273].

Developing an Assessment Strategy

The challenge with reviewing a book of collected essays is that you must begin by thinking critically about the research problem that underpins each of the individual essays, synthesizing the arguments of multiple authors, and then organizing those arguments into conceptual categories [themes] as you write your draft review.

Listed below are questions to ask yourself depending on the type of collected work you're reviewing . These questions will help you frame how to analyze the essays and compose your review. Note that all types of collected works require you to first identify the overarching research problem or topic under investigation.

• Conference Proceedings -- what organization is sponsoring the conference? Is there a specific theme to the conference? Why is that theme important? Was the collection of papers selectively chosen or do the proceedings represent all papers presented at the conference? If not, how were the papers selected? Are the papers reprinted as they were presented or have the authors been given the opportunity to update or significantly edit the papers prior to publication [this is often noted in the introduction]? Are the proceedings online and, if so, how might this facilitate access to additional materials? Is there foreword or an introductory chapter that effectively synthesizes the collection? Is it logically organized and include important front and back matter, such as, a table of contents, profiles of each contributor, and, most importantly, an index to locate information from among all of the papers?
• Collection of an Author's Research -- who is the author and why do you believe their work is important enough to be gathered together for publication? Is there an underlying theme or does the collection represent a "best of" collection? What may have been omitted? Are any original works included or are the contents only reprints? Is there a bibliography of the all of the author's writings? Is there a foreword or an introductory chapter written by the author or a guest contributor that effectively synthesizes the collection? Are the contents arranged logically [e.g., chronologically, thematically, historically] and is important front and back matter included, such as, a table of contents and an index?
• Festschrift -- who is being honored and why? Do the contributors represent a diversity of viewpoints or perspectives? Do the contributions represent essays of general tribute or do they represent original research that builds upon the honoree's prior work? Is there a list of contributors and does the list include biographical profiles that help determine their relationship to the honoree? Is there a foreword or an introductory chapter that effectively synthesizes the collection? Is it logically organized and include important front and back matter, such as, a table of contents and an index?
• Reader -- does the collection represent a broad spectrum of publications about a research topic or only a few? Are there underrepresented or overemphasized areas of research in the collection? Are the sources making up the collection representative of one or only a few areas of study or do they represent a multidisciplinary perspective? Do the authors represent an international perspective or are they primarily from the United States? Is there a list of editors/compilers and does it include biographical profiles of each? Are the contents reprinted in their entirety or is the text only excerpted? Is there an online component to the reader? Are the reprints readily available through other means or do they represent a compilation of hard-to-find publications? Is there a foreword or an introductory chapter that effectively synthesizes the collection? Is it logically organized and include important front and back matter, such as, a table of contents and an index?
• Reprints -- does the collection represent reprints from a variety of publications or only a few? Do they represent a span of time that covers the emergence of the topic or are they only recently published studies? Are there underrepresented or overemphasized areas of research in the collection? Are the sources making up the collection representative of one or only a few areas of study or do they represent a multidisciplinary perspective? Are the reprints readily available through other means or do they represent a compilation of hard-to-find publications? Are the reprints from relatively current or older publications or a mix of both? Is there a foreword or an introductory chapter that effectively synthesizes the collection? Is it logically organized and include important front and back matter such as a table of contents and an index?
• Thematic Articles -- how are the contents arranged? Do the contributions survey a broad area of research or do they examine multiple issues associated with a particular research problem? Do they represent a multidisciplinary perspective? Is there a list of contributors and does it include biographical profiles of each? Do you the contributors come from one or a variety of institutions? Do the contributors all come from the United States or are there any international contributors? Is there a foreword or an introductory chapter that effectively synthesizes the collection? Does the work include important front and back matter, such as, a table of contents and an index?

Bazerman, Charles. Comparing and Synthesizing Sources. The Informed Writer: Using Sources in the Disciplines. Writing@CSU. Colorado State University; Book Reviews. Writing@CSU. Colorado State University; Book Reviews. The Writing Center. University of North Carolina; Hartley, James. "The Anatomy of a Book Review." Journal of Technical Writing and Communication 40 (2010): 473-487 ; Orteza y Miranda, Evelina. "On Book Reviewing." The Journal of Educational Thought (JET)/Revue de la Pensée Educative 30 (1996): 191-202; Writing a Book Review. The Writing Lab and The OWL. Purdue University; Rhetorical Strategies: Comparison and Contrast. The Reading/Writing Center. Hunter College; Visvis, Vikki and Jerry Plotnick. The Comparative Essay. The Lab Report. University College Writing Centre. University of Toronto; Writing Book Reviews. Writing Tutorial Services, Center for Innovative Teaching and Learning. Indiana University.

Structure and Writing Style

I.  Bibliographic Information

Provide the essential information about the book using the writing style that your professor has asked you to use for the course [e.g., APA, MLA, Chicago, etc.]. Depending on how your professor wants you to organize your review, the bibliographic information represents the heading of your review. In general, it would look like this:

El Ghonemy, Mohamad Riad. Anti-Poverty Land Reform Issues Never Die: Collected Essays on Development Economics in Practice . (New York: Routledge, 2010. xx, 223 pp.)

Reviewed by [your full name].

II.  Scope/Purpose/Content

The first challenge in reviewing any type of collected work is to identify and summarize its overarching scope and purpose, with additional focus on describing how the book is organized and whether or not the arrangement of its individual parts facilitates and contributes to an understanding of the subject area. Most collected works include a foreword or introductory chapter that provides a general statement of purpose, describes the overarching themes, and summarizes each essay. In some cases, the editor will discuss the scope and purpose at the beginning of each essay.

To help develop your own introductory thesis statement that covers all of the material, start by reviewing and taking notes about the aim and intent of each contribution. Once completed, identify key issues and themes. For example, in a compilation of essays on environmental law, you may find the papers examine various legal approaches to environmental protection, describe alternatives to the law, and compare domestic and international issues. By identifying the overall themes, you create a framework from which you can cogently evaluate the contents.

As with any review, your introduction must be succinct, accurate, unbiased, and clearly stated. However, given that you are reviewing a number of parts within a much larger work, you may need several paragraphs to provide a comprehensive overview of the book's overall scope, purpose, and content.

If you find it difficult to discern the overall aims and objectives of the collected work [and, be sure to point this out in your review if you believe it to be a deficiency], you may arrive at an understanding of the purpose by asking yourself the following questions:

• Why did the contributing authors write on this subject rather than on some other subject? Why is it important?
• Scan the table of contents because it can help you understand how the book is organized and will aid in determining the main ideas covered and how they are developed [e.g., chronologically, historically, topically, thematically, etc.]
• From what point of view is the overall work written? Do some essays systematically take one stance while others investigate another, or do the essays just represent a variety of viewpoints?
• Were each of the authors trying to give information, to explain something technical, or to convince the reader of a belief’s validity by dramatizing it in action?
• What is the general field or genre, and how does the book fit into it? Review related literature from other books and journal articles to familiarize yourself with the field, if necessary.
• Who is the intended audience? Is it very specialized or intended for a broader audience?
• What are each author's style? Do they clash or do the contents flow together? Is it formal or informal? You can evaluate the quality of the writing style by noting some of the following standards: coherence, clarity, originality, forcefulness, correct use of technical words, conciseness, fullness of development, and fluidity.
• How did the book affect you? Were any prior assumptions you had about the subject changed, abandoned, or reinforced due to this book? Did some essays stand out more than others in relation to these issues? In what ways?
• How is the book related to your own course or personal agenda? What experiences have you had that relate to the subject?
• How well has the book achieved its goal(s)? After reading the essays, were there any goals that should have been addressed?
• What are the main takeaways? Would you recommend the book to others? Why or why not?

III.  Critically Evaluate the Contents

Critical comments should form the bulk of your book review . A good method for reviewing a collection of essays is to follow the arrangement of contents. This is particularly useful if the essays are grouped in a particular way or arranged under headings. Frame this analysis in the context of the key issues and themes you identified in the introduction. State whether or not you feel the overall treatment of the subject matter is appropriate for the intended audience. Ask yourself:

• Has the purpose of the book been achieved?
• Have all of the essays contributed something important to the overall purpose? If not, how and in what ways have some author's failed to add something meaningful?
• What contribution does the book make to the research problem or field of study?
• Is the treatment of the subject matter fair and unbiased? If there is an underlying focus on advocacy or activism, is that explicitly stated?
• Are there facts and evidence that have been omitted?
• What kinds of data, if any, are used to support each author's thesis statement?
• Can the same data be interpreted to alternate ends?
• Is the writing style clear and effective?
• Considered collectively, did the essays cover the topic or research problem thoroughly? If not, what issue or perspective about the topic do you believe has been omitted?
• Does the book raise important or provocative issues or topics for discussion and directions for further research?

Support your evaluation with evidence from the text and, when possible, in relation to other sources. Do not evaluate each essay one at a time but group the analysis around the key issues and themes you first identified. If relevant, make note of the book's format, such as, layout, binding, typography, etc. Do some or all of the essays include tables, charts, maps, illustrations, or other non-textual elements? Are they clear and do they aid in understanding the research problem?

IV.  Examine the Front Matter and Back Matter

Front matter refers to anything before the first chapter of the book. Back matter refers to any information included after the final chapter of the book . Front matter is most often numbered separately from the rest of the text in lower case Roman numerals [i.e. i-xi ]. Critical commentary about front or back matter is generally only necessary if you believe there is something that diminishes the overall quality of the work [e.g., the indexing is poor] or there is something that is particularly helpful in understanding the book's contents [e.g., foreword places the book in an important context].

The following front matter may be included in a book and may be considered for evaluation when reviewing its overall quality:

• Table of contents -- is it clear and follow a logical sequence related to the overall topic? Is it detailed or general? Does it reflect the true contents of the book?
• Author biographies -- also found as back matter, the biography of author(s) can be useful in determining the authority of the writer and whether the book builds on prior research or represents new research. In a collected work, think about the following: what is the distribution of expertise among authors? Does it represent an interdisciplinary perspective or is the scope of expertise more narrow? Are the authors from a variety of institutions or just a few? Are the author affiliations international in scope or just from one country or region?
• Foreword -- the purpose of a foreword is to introduce the reader to the author as well as the book itself, and to help establish credibility for both. A foreword may not contribute any additional information about the book's subject matter, but it serves as a means of validating the book's existence. Later editions of a book sometimes have a new foreword prepended [appearing before an older foreword, if there was one], which may be included to explain how the latest edition differs from prior ones.
• Preface -- generally describes the genesis, purpose, limitations, and scope of the book and may include acknowledgments of indebtedness to people who have helped the author complete the study. Consider, is the preface helpful in understanding the study? Does it provide an effective and thorough framework for understanding what's to follow?
• Chronology -- also may be found as back matter, a chronology is generally included to highlight key events related to the subject of the book. Do the entries contribute to the overall work? Is it detailed or very general?
• List of non-textual elements -- a book that contains a lot of charts, photographs, maps, graphs, etc. will often list these items after the table of contents in the order that they appear in the text. Is it useful?

The following back matter may be included in a book and may be considered for evaluation when reviewing the overall quality of the book:

• Afterword -- this is a short, reflective piece written by the author that takes the form of a concluding section, final commentary, or closing statement. It is worth mentioning in a review if it contributes information about the purpose of the book, gives a call to action, or asks the reader to consider key points made in the book. This is a common feature of collected works because it's an opportunity to reflect upon the overall contribution of each study. If this is the case, does it help in wrapping up the book? Does it leave you thinking about the significance or implications of the contributions?
• Appendix -- is the supplementary material in the appendix or appendices well organized? Do they relate to the contents or appear superfluous? Does it contain any essential information that would have been more appropriately integrated into the text?
• Index -- is the index thorough and accurate? Are elements used, such as, bold or italic fonts to help identify specific places in the book? An index is particularly important in collected works because it brings together key terms, concepts, and names from a variety of essays that would otherwise be disconnected without a comprehensive index. A collected work that does not contain an index to the entire contents could be considered a major deficiency.
• Glossary of Terms -- are the definitions clearly written? Is the glossary comprehensive or are key terms missing? Are any terms or concepts mentioned in the text not included?
• Footnotes/Endnotes -- examine any footnotes or endnotes as you read from chapter to chapter. Do they provide important additional information? Do they clarify or extend points made in the body of the text? Some collected works arrange the citations by chapter at the end of the book. Is this helpful or would it been more effective to list the references and notes after each essay?
• Bibliography/References/Further Readings -- review any bibliography, list of references to sources used, and/or further readings that are included. What kinds of sources appear [e.g., primary or secondary, recent or old, scholarly or popular, etc.]? How does the editor[s] of the collected work make use of them? Be sure to note important omissions of sources that you believe should have been utilized.

V.  Summarize and Comment

State your general conclusions succinctly. Pay particular attention to any capstone chapter that summarizes the work. Collected essays often have one written by the editor. List the principal topics, and briefly summarize the key themes and issues, main points, and conclusions. If appropriate and to help clarify your overall evaluation, use specific references and quotations to support your statements. If your thesis has been well argued, the conclusion should follow naturally. It can include a final assessment or simply restate your thesis. Do not introduce new information in the conclusion.

NOTE:   The length of a review of a collected work will almost always be longer than a review of a single book. Treat an assignment to review a collected work as a short research paper assignment in terms of the time needed to read and to write a thorough synopsis. Due to the factors noted above, more effort will have to devoted to describing the content of the essays and the thematic relationships among each of them.

Bazerman, Charles. Comparing and Synthesizing Sources. The Informed Writer: Using Sources in the Disciplines. Writing@CSU. Colorado State University; Book Reviews. Writing@CSU. Colorado State University; Book Reviews. The Writing Center. University of North Carolina; Hartley, James. "The Anatomy of a Book Review." Journal of Technical Writing and Communication 40 (2010): 473-487; Galleron, Ioana and Geoffrey Williams. "The Good, the Bad and the Downright Mediocre: Quality Judgments in Book Reviews." Word & Text: A Journal of Literary Studies & Linguistics 3 (2013): 102-118; Hartley, James. "Book Reviewing in the BJET: A Survey of BJET's Referees’ and Writers’ Views." British Journal of Educational Technology 36 (2005): 897-905; Kindle, Peter A. "Teaching Students to Write Book Reviews." Contemporary Rural Social Work 7 (2015): 135-141; Obeng-Odoom, Franklin. "Why Write Book Reviews?" Australian Universities' Review 56 (2014): 78; Oinas, Päivi and Samuli Leppälä. "Views on Book Reviews." Regional Studies 47 (2013): 1785-1789 ; Orteza y Miranda, Evelina. "On Book Reviewing." The Journal of Educational Thought (JET)/Revue de la Pensée Educative 30 (1996): 191-202 ; Writing a Book Review. The Writing Lab and The OWL. Purdue University; Rhetorical Strategies: Comparison and Contrast. The Reading/Writing Center. Hunter College; Visvis, Vikki and Jerry Plotnick. The Comparative Essay. The Lab Report. University College Writing Centre. University of Toronto; Writing Book Reviews. Writing Tutorial Services, Center for Innovative Teaching and Learning. Indiana University.

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Synonyms of collection

• as in library
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Thesaurus Definition of collection

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• accumulation
• kaleidoscope
• treasure trove
• miscellanea
• omnium - gatherum
• phantasmagoria

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• bric - a - brac
• conglomeration
• conglomerate
• aggregation
• agglomeration
• agglomerate
• constellation
• the whole kit and caboodle
• odds and ends

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collections

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“Collection.” Merriam-Webster.com Thesaurus , Merriam-Webster, https://www.merriam-webster.com/thesaurus/collection. Accessed 25 Apr. 2024.

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The collected essays, journalism and letters of George Orwell

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IN COLLECTIONS

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SIMILAR ITEMS (based on metadata)

Essays on Definition

• Preface |  pp. vii–viii
• Introduction : Defining Definition Alain Rey |  pp. 1–14
• Plato |  pp. 15–23
• Aristotle |  pp. 25–89
• Isidoro of Seville |  pp. 91–94
• Blaise Pascal |  pp. 95–117
• Benedict de Spinoza |  pp. 119–123
• John Locke |  pp. 125–143
• Gottfried Wilhelm Leibniz |  pp. 145–158
• George Berkeley |  pp. 159–161
• Immanuel Kant |  pp. 163–171
• John Stuart Mill |  pp. 173–190
• Heinrich Rickert |  pp. 191–249
• Name Index |  pp. 255–256

Cited by 10 other publications

This list is based on CrossRef data as of 16 april 2024. Please note that it may not be complete. Sources presented here have been supplied by the respective publishers. Any errors therein should be reported to them.

Linguistics

Terminology & lexicography, main bic subject, main bisac subject.

Ethics Definition

This essay about the practical application of ethics in daily life highlights how ethical considerations influence both monumental decisions and everyday choices. It discusses the philosophical underpinnings of ethics, referencing theories from Aristotle and Kant, which advocate for virtues and duty-based actions, respectively. The essay then explores how these philosophical principles manifest in the modern world, such as in corporate ethics, where businesses strive for transparency and fairness. Additionally, it looks at personal ethics in everyday scenarios, like making purchasing decisions or interacting with others, emphasizing how these actions shape personal character and societal norms. Furthermore, it touches on the evolving nature of ethics in response to technological advancements and global challenges, pointing out the importance of adapting ethical standards to current realities. The essay underscores ethics as a guiding force in making balanced, considerate decisions that promote a just society.

How it works

Ethics is often envisioned as a lofty collection of principles that govern major life decisions and professional conduct. However, it’s also deeply woven into the fabric of everyday life, influencing choices in subtle yet profound ways. This exploration sheds light on how ethical considerations are not just academic concepts but practical guides that shape our daily interactions and personal growth.

The foundation of ethics lies in the age-old debate about what constitutes right and wrong. Philosophical giants from various eras have tackled this, proposing theories that still resonate today.

For example, Aristotle’s notion of virtue ethics centers on developing moral virtues through habitual actions, suggesting that living well involves cultivating attributes such as kindness and prudence. On the other hand, Immanuel Kant introduced a framework based on duty and the adherence to universal laws, advocating for actions that can be universally applied as moral laws, irrespective of personal gain.

In the modern world, these philosophical principles translate into real-world applications that impact both individuals and organizations. For instance, corporate ethics govern business practices, influencing how companies manage everything from environmental responsibilities to consumer relations. An ethically-run business not only adheres to regulations but also operates transparently and treats its stakeholders with fairness. These practices build trust and sustain the business in the long term.

On a personal level, ethics molds our everyday decisions. It plays a role when we choose products at the grocery store, considering if they are sustainably sourced, or when we interact with others, deciding how to respond to conflict or temptation. These decisions might seem small, but they cumulatively define our character and the quality of our relationships.

Furthermore, the evolution of ethical standards reflects societal changes. As new technologies and global challenges emerge, ethical norms are reevaluated to fit new contexts. Digital ethics, for example, now questions how we protect personal privacy online, manage artificial intelligence, and ensure that technological advancements benefit society without causing harm.

In essence, ethics is a dynamic, omnipresent force that shapes how we navigate the world. It informs both monumental life choices and the minutiae of everyday actions, guiding us toward a balanced and considered existence. By continuously engaging with ethical questions, we ensure that our decisions are grounded in a consideration of fairness, respect, and responsibility.

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